June

Depending on your level of intensity as a Phish fan, your take on the band’s 2013 Halloween performance probably fell in one of two camps. The decision to unveil twelve brand new songs – rather than the traditional approach of covering an album from one of their musical influences – was either an inspiring risk in the band’s 30th year, or it was a cringeworthy gimmick that further proved how out-of-touch Phish was from the endless desires of their fanbase.

The divisive nature of conversation within the Phish community is such that grey is rarely a viable color option. Whether or not this is due to its fervent dedication, or its preference for polemics over metered discussions is still up for debate.

(For the sake of clarity and openness, I personally thought Wingsuit was one of the defining moments of 2013. Both for the balls it displayed by the band, and the shift it initiated towards the future of Phish, I unabashedly viewed it as an overwhelming success.)

Regardless the hyper-dichotomy the initial presentation of (what was dubbed at the time) Wingsuit caused within the Phish community, there was one universal takeaway from it. In both presentation and delivery, it’s clear Phish sought to craft an album that captured the energy, equitable playing, and open-ended musical possibilities that have made their live shows so incomparable within the realm of modern rock. That this particular goal is so critical for a band entering their third decade – a band that has both proven their merit within the live realm of the rock universe, while accomplishing nearly every artistic goal they’ve ever strived towards – says everything you need to know about the quality of their studio album’s to date.

To be blunt, Phish’s studio recordings are to their live shows what a burger in SE Asia is to Kuma’s. A tepid imitation that only leaves you craving the real thing that much more.

For as divisive as the initial response t0 Wingsuit was in the Fall of 2013, the leak, and subsequent response to Fuego, has been met with a far more measured shrug and understated grin. New Phish music has arrived, and this is a good thing. Now, much of the community directs their attention to the impending tour where we’ll see just how these ten new songs fit in the ever-expanding Phish catalogue.

Overwhelmingly it seems the Phish community is genuinely pleased with Fuego. The record pops with energy and is sonically weightier than many of the band’s previous efforts. Yet, there’s still a consistent hesitation for many to disarmingly love the record. The reason for this is simple: the task for the band to transfer what makes them special in the live setting into a studio is complicated. It raises questions over what is specifically necessary for Phish to thrive as a band.

Does there need to be an audience present?

Do they need the freedom to play without taking a cut?

How much of an impact does a confined setlist and a time constraint have on their overall level of creativity?

The answers are not simple, and as anyone who’s listened to Fuego can attest, neither are the results.

The record opens with its title-track, a brawny, nine-minute song that has “Set II Opening Jam” written all over it. Recorded live during the 10/30 soundcheck at Boardwalk Hall, “Fuego” is at once the closest representation of live Phish on a studio album, and an absolutely torrid opening statement. Not to mention a veritable showcase for the ongoing resurrection of one Jon Fishman. Throughout, the band sounds confident and adroit. The production is such that the song is left to speak for itself; the levels are simply adjusted here to accentuate the power of each musician’s playing. There’s a franticness to the playing. Listening, it’s as if one can simultaneously latch onto the nerves accompanying the band in the hours before the Halloween show, and, now, as both fans and band anxiously await just how “Fuego” will expand this summer.

The title of the record indicates heat, obviously. By most interpretations, Fuego – in both its phrasing and in the music produced – is a confident assertion from the band as to where they stand in 2014. Whereas 2009 was defined by a communal joy at the simple presence of Phish again, in 2014, nothing short of straight-fire from the band will cut it. By these standards, the album’s opening nine-minutes are as invigorating as they are shocking.

From there we weave in-and-out of a number of set fillers as the group’s collective songwriting – as well as the individual creations of each member – are put on display. One must point out the overall quality of the songs that make-up the meat of Fuego. Whereas in past Phish records, the ballads and contemplative numbers have tended to be their most disappointing (save for “Fast Enough For You,” “Lifeboy,” and “Thunderhead”) here, these songs shine as individual numbers. Still, there are flaws throughout. Notably, the fact that any concept of flow is essentially tossed to the wayside, and unquestionably each of these songs live and die – in large part – on the production work from Bob Ezrin.

“Devotion To A Dream,” – something of a wizened “Backwards Down The Number Line” – benefits greatly from both the work of Ezrin and a brilliant concluding solo from Trey that hints at his Eat A Peach inspired lead work in the 10/29/2013 “Down With Disease.” Conversely, “The Line” is barely tempered with and is one of the finest overall tracks of the record.

Both “Winterqueen” and “Sing Monica” teeter between overtly cheesy pop and sheer studio dominance. While I’ve never understood Trey’s post-2.0 infatuation with writing as if he were trying to compose Game Of Thrones: The Musical, the spaciousness that hangs within the verses, and the horns that build halfway through, add a completely different dimension to one of the (admittedly) weaker Halloween debuts. Love it or hate it, it’s clear “Sing Monica” is here to stay. If the version from Fuego is any hint though, the reworked solo is going rock live, and could find the most overtly-pop song the band’s written since “The Connection” serving as a reliable Set I closer.

“Halfway To The Moon” – one of the most emotive and mysterious songs the band has debuted in 3.0 – is both sharp and disappointing all at once. Musically, the studio slims it down while equally smoothing out its edges, giving it an even sultrier groove than has been apparent in many live versions. However, the over-production of Page’s vocals eliminates any of the organic quality that has always been key to the song. That it’s always sounded like a haunting mix between Neil Young, The National and Cass McCombs should have been accentuated. Instead, Ezrin drains Page’s voice of any human quality, thus cutting out the personal struggle that is at the core of the song.

Last week I wrote in depth about both “555” and “Waiting All Night.” While my feelings towards the two as individual songs has yet to change – I fear the production on “555” has swerved into gimmicky terrain, yet am completely blown away by everything about “Waiting All Night” – I find that their placement on the record alters my thoughts towards them ever-so-slightly.

Whereas “555” feels like a proper shift towards the album’s second half following “Sing Monica,” “Waiting All Night” is as awkwardly placed here as it was in it’s two live versions to date. The song is perfectly set up to be an ideal landing spot for a Set II jam, and one can only hope the jarring entrance that’s accompanied it in its infancy doesn’t follow it into 2014.

What’s more is the placement of “Wombat” and “Wingsuit” back-to-back, in the set-up and closing role, only increases the lack of flow that permeates throughout the record. Following the blissful nature of “Waiting All Night,” one has to wonder why we’re dropped into the awkward giddiness of “Wombat” only to then be released in the ethereal and stunning “Wingsuit.”

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A necessary digression:

One of the defining aspects that makes the most memorable Phish shows so transcendent – and so re-listenable – is the presence of flow. Be it due to song selection, or fluid jamming, or an advanced attentiveness to tonal structure and key shifting/uniting within the setlist, Phish’s insistence upon connecting all the separate pieces of their catalogue into linear narratives is something that separates them from most other live acts. One only has to scan the setlists from 2013 to see how setlist structure and flow helped craft some of the best shows of the year, including 07/05/2013, 07/27/2013, 07/30/2013, and 12/29/2013, among others. That so little effort was made to connect the ten pieces of Fuego into something that feels tangible and unified, is one of its biggest disappointments.

The standard of great albums (from Highway 61 Revisited to Dark Side Of The Moon to Sound Of Silver to High Violet to Lost In The Dream) begins and ends with its narrative continuity. Dedicated listeners want to be able to press play and let a record unveil itself to them organically. Repeated listens and interlocking themes, that can only emerge from this kind of listening, tend to materialize from records that flow effortlessly from one song to the next. Most critically, Fuego feels like a collection of songs rather than a linear story.

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A song that was defined by on-stage dancing, an infectious funk-strut, and some of the goofiest, and self-referential jokes that Phish has ever composed, it’s shocking how little fun the band sounds like their having throughout the recorded version of “Wombat.” The vocals are sung without any sense of humor, and the result is an awkward, borderline embarrassing, delivery of a song that clearly requires an all-in mentality. Musically it’s taught and danceable, and the loops that cater the song’s post-explosion will be received with ecstatic praise should they accompany the it this summer.

Whereas Halloween 2013 opened with the blissful airiness of “Wingusit,” Fuego closes with it, and it’s clear this role is far more appropriate for it long-term. (As a side note, for all the issue I have with the overall flow of Fuego, it’s undeniable how perfectly the band nailed their opening/closing selections.)

“Wingsuit” is unquestionably one of the records supreme highlights. The surreal nature and ambient quality that made it one of the immediate keepers on Halloween is ever-present here. And the final break and subsequent solo from Trey is so clearly lifted from David Gilmour it feels like the proper musical nod in its delivery. A song that feels simultaneously like a rebirth and a conclusion, the symbolic nature of it opening 10/31 II and closing Fuego are not lost on this listener. In the same sense, the idea of the song expanding outwards as a Set II Opening Jam, while also working as a landing pad for an extended “Down With Disease” is equally imaginable.

That we have so many structural options with the majority of these songs is a testament to the band’s diverse songwriting capabilities so deep in their career.

For a band that has always struggled to capture the magic of their live performances within the confines of the studio, Fuego is as close a representation of the true nature of Phish as has ever been put to tape. In it’s best moments – “Fuego,” the powerful solos in “The Line,” “Devotion To A Dream,” “Halfway To The Moon,” and “Sing Monica,” and the ambient bliss of “Waiting All Night” and “Wingsuit” – Fuego feels like a major accomplishment for Phish. And it is.

Never before have they truly come close to honing in on the unbridled energy, and atmospheric spaciousness that drives so many of their fans to travel to see them repeatedly.

And yet, at the same time, what Fuego proves as well is that there’s simply no way Phish can (or will) ever truly recreate the magic that is so ever-present at their shows within the confines of the studio. The issues with flow, the overproduction of certain songs, and the abject tepidness of “Wombat” leave a bad taste in your mouth long after the record finishes. This is not to say the record is a failure in any way. No matter what criticisms you lay on it, it’s unquestionably the band’s strongest record since either Billy Breathes or The Story Of The Ghost.

In the end, it seems clear that even after the applaudable efforts from Phish to craft a studio record that reverberates with the power and energy of their live shows, it may be something of an unattainable goal. So much of what makes Phish’s live shows so unique is polar opposite to what makes a classic album so lasting.

Whereas Phish shows capitalize on the unknown, albums are carefully crafted artifacts. Spontaneity plays such a huge role in every Phish jam, while each moment of transcendence on an album has been labored over for weeks, and sometimes months. The two mediums are neither compatible, nor do they cater to every artist. While Phish ultimately comes up short on Fuego in terms of recreating their live show within the confines of an album, the sheer fact that they took the risk some three decades into their career is reason enough to believe in this band going forward.

– With Summer 2013 Dates just announced, I felt it appropriate to give 2009 it’s proper due. Here follows is a recap of the first year of 3.0, including picks for Best Jams and Best Shows. Part I today is the Jams, look for Part II later this week. Enjoy! –

Walking out of Coventry was a dark and dismal scene. Like the days immediately following a horrendous battle, everyone had the same shell-shocked look on their faces. Nobody had won. Everyone was a casualty in some way. That churning, grinding feeling inside — WTF just happened? Phish was done. That’s all we knew. Trey looked like he was a few hits away from the grave. Page was in tatters after the one-two punch of his marriage and band ending. Mike and Fishman handled it the best, but in the end, looked like ghosts, unable to fully explain to the legions of fans how grateful, yet sorry they truly were.

The mud became the focal point for everyone almost immediately. Somewhat forgotten with the onset of music some 36 hrs earlier, now, following a disastrous “final show” all fans could think about was “how the fuck am I going to dig my car and all my shit out of this mud and get the fuck away from this farm!!!!!” Moving through the aching crowd, I walked with my two best friends to Newport. Six miles away, we hoofed it for a couple hours, figuring it to be the better option than to try and hitch a ride. We’d ridden in with two guys we’d met on PT. Not much for fans, they were going up there based on a one-show experience in 1999, figuring they ought to see what the fuss really was all about. After 24 hrs of traffic, a day spent stewing in the rain, and an unquestionably sloppy 08/14/2004 set III, they packed up and high-tailed out.

As it was, here we were, at 19, walking with everything we had on our backs, through the night, past hordes of strung-out wooks, angry vets, crying fairy’s, screaming babies, custy-ass NEsterners, and cynical PTers vocally chiding over the faux-Gamehenge, the debauched “Glide,” the fucking “Walls Of The Cave” opener (?!?!), the sexy bump, and numerous other faux pas the band had committed over the course of the weekend. We arrived at the Newport bus station around 5am, bought tickets to Albany, and slept.

Not even 20, my favorite band gone. Eight shows – not one on the epic level I’d heard on tapes, one festival – an asterisk, a footnote to the band’s glorious history – it was all I’d ever have to hang my hat on phishdom. Even worse was the way they went out; it was a completely different band from what they’d been ten years earlier. Totally unrecognizable in every regard. They’d allowed themselves to be succumbed by the scene. They’d been the cause of their own demise. They’d given up the dream. It would be up to their fans to pick up the pieces.

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On 1 October 2008 Phish announced what everyone had been anticipating for months: they would reunite on 6 March 2009 at the hallowed halls of Hampton Coliseum. In the year prior, much of the aggression towards Phish had cooled. Following Trey’s DWI in December 2006, many had given up hope that the band would ever reunite. And as Trey began a 14-month drug rehabilitation stint, the band became somewhat shrouded in shadows for the first time in nearly 20 years.

Emerging a completely changed man, Trey sought out rebuilding his life. A poem from Tom Marshall on his 43rd birthday – the first in years, and the eventual lyrics to “Backwards Down The Number Line” – spawned his first post-rehab song. From there, Trey got back to the grind of writing songs, now focused, driven, and sober. 2008 brought a reunion of sorts as the band appeared on stage together for the first time since Coventry, while accepting their Lifetime Achievement Award from the Jammy’s – an award show they essentially created a niche for. During the Rothbury festival that summer, Mike invited Fish and Trey on stage to play “She Said, She Said.” And a quote made it’s way around the internet by which Trey claimed willing to forgo one of his testicles for the chance to play “You Enjoy Myself” all day every day. Rumors swirled, and by fall Phish was back, at least in part.

When the finally hit the stage the following spring, they ushered in a new era of Phish by paying homage to the past. Both with the original linear stage set-up, and the “Fluffhead>Divided Sky” opener, they sent a clear message that the 3.0 incarnation would be about reacquainting themselves with their historical greatness. The Hampton weekend took on a feeling of a recital. Nearly 100 songs were played. First sets stretched on far past 90 minutes, and few moments of improv were even attempted. The message was clear: after 5 years apart, Phish would need some time honing their chops in the live atmosphere. Add to this an ethereal joy that emanated from the stage and the crowd, the sound of 3.0 Phish took on a far happier sound than the era that immediately preceded it. Phish was back, and that was all that mattered. For a while at least.

When Summer Tour came around, many were expecting the cobwebs that had accompanied many parts of Hampton to be a thing of the past, and for Phish to get down to the business of jamming again. To many-a-fan’s dismay though, the band was still not fully comfortable with themselves, each other, nor the massive crowds that adorned them, to let loose in ways many had expected. As a result, the June leg of the tour reflected much of the Hampton shows, in both containment and rust. In hindsight, it made complete sense. As this blog has written about at length, it took years of playing together for the band to attain the liner musical communication needed to jam effortlessly, and completely united, as they did in the best parts of 1995 and 1997. Five years apart, with little communication, one member in drug rehab, and another who reportedly sold his drum set, moved to the woods and didn’t think about music for a year, rust, and caution were bound to dominate Phish’s first year back on the stage.

Returning in late-July to Red Rocks for the first time since 1996, the band, for the first time in 3.0, looked like themselves again. Standout shows on 07/31 and 08/01 gave way to the groundbreaking Gorge shows, and the 08/14 Hartford show that still lives in infamy to this day. The summer also gave the band their first chance in years to toy with the minds of their fans. By uploading a map of the US to the Internet, they spent a month eliminating state-by-state in anticipation of a three-day Halloween Festival in Indio, California. Festival 8 combined two storied aspects of the band’s past in one glorious weekend as the band not only continued to push their improv further, but also played their first-ever acoustic set, and covered Exile On Main St taboot. The Fall Tour that followed was, while a step-back in parts musically, nonetheless, one more enthusiastic stamp on the band’s return, as they toured their NE home-turf to raucous crowds, culminating with a three-night return to the world’s most famous arena – Madison Square Garden.

Closing out the year with a four-night run in Miami, the band peaked on the 29th and 30th, displaying both dexterity and a comfort on the stage that had been missing throughout much of the year. Setting their sights on 2010, Phish ended 2009 on a high note. The multitude of inconsistencies of the early part of the year behind them, they were ready to embark on a year in which the music they created would be the sole focus. While 2010 would bring it’s own share of issues, the greatness attained in the latter part of the year would not have been possible without the groundwork laid throughout 2009. Up and down, sure, but 2009 is, more than anything, a unique peak into a band trying to both regain their footing, and crafting raw, untested, and wholly original music all at the same time.

As with the 2010, 2011, and 2012 recaps, I’ve assembled a list of ten shows and ten jams that standout as the best of the year. Along with these selections, there are three honorable mentions to each. These are not simply jams/shows 11-13, but rather foundational jams and shows with which the band grew, yet didn’t crack my top ten. The lists are comprised chronologically like the last few years, thus reserving the title “Best Ever” as subjective accolade. Here’s to the original year of 3.0 Phish!

The Best Of Phish 2009

Honorable Jams

“Sand” – Camden, NJ – 06/07/2009

The first show and the first jam where everything felt right again. After a week of subpar shows, and questionable jams, Phish opened up the second set of their return to the ghetto of Philly with a proper jam off a song that had gone virtually unplayed since 2000. Wading through the “Sand” theme for the first nine minutes, Trey initiated a shift from the minor the major at 9:20, and off they went. Building the jam into a more rock-oriented space, the band transformed the ever-present groove of the song into a peaking monster. A far cry from the thematically redundant jams that had come to defined it in the latter 1.0 era. Passing through a groove-ladend, rhythmic segment from 13:30 – 16:25 the band – Page and Trey especially – proved they still could specialize in the kind of dance-heavy melodies that had become like musical crack to many fans. Concluding with a near-5-minute peak, the jam was a celebratory revival of all things Phish: diverse, surprising, explosive, and communal, the “Camden Sand” – as it’s come be to known – was all fans needed to know the band was back, and, in time, would fully reclaim their title of “The Best Damn Band In The World.”

“Bathtub Gin” – George, WA – 08/07/2009

Deep in the heart of the best show of 2009, Phish dropped a rare – for 3.0 at least – second set “Bathtub Gin.” Had we known at the time it’d be – thus far – the last truly extended “Gin” of 3.0 it might have been savored a bit more. Yet, four years on, this jam remains buried as one of the underrated gems of 2009. Flowing lackadaisically from the song proper, the jam takes on the laid-back feel of many-a second set “Gin’s.” As opposed to their set I, type-I ragers, which rely on peaks more than exploration, typically when “Gin” appears in a second set, the possibilities are limitless. Coming on the heels of an ambient-laced “Sneakin’ Sally,” and a calypso-infused “Light,” the “Gin” was the third major jam of the night. Flowing with ease from the aforementioned slinky trot to a minor-keyed groove fest at 10:05, the jam took on a Summer ’98 feel as it emphasized sonic quality, and glossy rhythm, over notes and shred. In stark contrast to much of the Summer 2009 tour, it is Anastasio who shines through, constantly infusing the jam with fresh riffs and ideas, complimenting the prodding bass of Mike, and the swirling clav from Page. A foreshadow of the following evening’s massive “Rock & Roll” is probably its lasting purpose. Yet, when Trey signals yet another downshift at 13:46, calling upon a thick, Mike-heavy rhythm section to close the jam out, it cements itself as one of the loosest, organic and redeeming jams of the year. Deliberate without being forceful, fluid without being lost, the Gorge “Gin” is one of the many signs of 2009 that Phish still had it, even through the ups and downs.

“Wolfman’s Brother -> Piper -> Joy” – Indio, CA – 10/30/2009

After a first set that was essentially used to clear the cobwebs after two months off, Phish got down to business at Festival 8 with a psychedelic combo of “Wolfman’s Brother” and “Piper,” the latter of which bled effortlessly into the contemplative resolution of “Joy.” Uniting the two jam vehicles for only the second time since 10/31/1998, the jam gave fans their first peak into the band’s evolving jam style – heard in the Festival’s soundcheck – since the monumental August Run. Following a similar funk/rock pattern it’s been pigeonholed into throughout 3.0, “Wolfman’s” took all altogether different course at 7:33 when Trey began building walls of sound, rather than push the dance rhythms further. Evolving into an ambient soundscape, the jam was highlighted by Trey and Page’s conflicting musical ideas; the battle of melody v. noise. While 2009 was chock full of ambient fades from one potential jam to another, the 8 Wolfman’s was one of the only one’s to truly feel like an organic jam, rather than a thoughtless segue. Eventually, Page’s ideas pushed through to fruition as Trey signaled “Piper,” and Page keyed in the “Piper” melody on his synths before moving to the baby grand. Like “Wolfman’s,” “Piper” initially took a more traditional approach in it’s jam, focusing on splintering guitar work from Trey, and heavy, rhythm breaks from Mike and Fish. At 7:39 though, Trey and Page moved the jam into a more lighthearted, melodic realm, bringing back memories of the calypso-infused “Light” from the Gorge. Injecting vocals into the jam, it felt at once as the calm from “Wolfman’s” storm, as it allowed fans their first breath after an absolutely rollicking start to the second set. Flowing into the nuevo-Phish ballad, “Joy,” the jam resolved in organically beautiful fashion, capping off one of the most memorable segments of music from the weekend, and the year overall.

The Top Ten Jams Of 2009

“Sneakin’ Sally Thru The Alley -> Cavern” – George, WA – 08/07/2009

Dropped for the first time since 08/12/2004, and only the third time since 2000, the mere sight of “Sneakin’ Sally” towards the end of the first set of the 08/07 Gorge show was significant in and of itself. Yet when the band emerged from the song’s vocal jam they embarked on an eleven minute jam that pushed aside the notion that their jams lacked creativity in 3.0, sculpting one of the most memorable jams of the era. Initiating a refined approach, Trey compressed his tone and began playing melodic notes in a scattered fashion. Mike soon followed suit, and they were off on a whirlwind of back-and-forth melodies before Trey signaled a complete thought at 7:01. The jam appeared to be it it’s limit when it began the fade into ambience, but the band was keen to explore at the Gorge, and in their first jam of the weekend, they displayed how far they were willing to go to create a lasting jam. Akin to the “Light” jams of 08/07/2010 and 07/08/2012, once the band found themselves in a melodic beatless territory the jam became an unstoppable force. Perfectly complimenting the setting sun behind the stage, the jam wove through ascending and descending melodic lines, guided wholly by Trey. Switching to the baby grand, Page followed Trey through his winding and lyrical playing bringing the jam to a resounding peak before fading into the set closing “Cavern.” Far more intuitive and creative than many of their jams in their first six months back, the Gorge “Sally” stands the test of time, and is still generally regarded as one of the best jams produced in 3.0.

“Light -> Taste” – George, WA – 08/07/2009

After debuting the song out of a segue from a resounding “Tweezer” in Boston, “Light” only made one other appearance on 2009’s Summer Leg I, again as a segue, this time, from “Rock & Roll.” Hinting at the song’s improv potential, it descended into a menacing swirl of noise before fading into “46 Days.” After five shows on leg two it had yet to make an appearance forcing many to think if the song had been shelved for tinkering. When it reemerged in the second slot of 07 August’s set II, it’s course in Phish history was about to be altered forever. Passing through it’s structured post-song jam, the song averted it’s previous noise-induced destiny, and instead, made way for a more melodic take on the song. Initiated by Page and Trey at 8:07, the song wove through a splintered thematic journey, moving with ease through various passages and melodies. Settling on a path at 10:06, the band moved into a jam laced with a Caribbean feel, transforming the mountain surroundings into a idyllic beachside island party. Using the same type of lyrical musicianship that defined the Festival 8 “Piper,” the “Light” became contemplative, while also proving impossible to sit still through. Bleeding right into “Taste” the performance and segue put a stamp on the song as one of the most impressive of the summer and bore new life into the band’s jamming. A song that has grown to be regarded as THE standard-bearer of all 3.0 jams, the Gorge “Light” gave us the initial glimpse of all the potential the song possessed.

“Rock & Roll -> Makisupa Policeman” – George, WA – 08/08/2009

Up until 2011, one could predict with a fair amount of accuracy what songs would be jammed each night. Throughout most of 2009 and 2010, Phish remained in the box with much of their catalogue, only routinely allowing a fairly strict rotation of “Down With Disease,” “Drowned,” “Tweezer,” “Light,” “Piper,” “Ghost,” “Crosseyed & Painless,” and “Rock & Roll” to be their vehicles for major exploration. Eliminating much of the spontaneity that had been their name-stay throughout the 1993 – 2004 period, moments of pure, unadulterated exploration typically came in expected pieces. Yet when they did truly hook up – regardless of the song used to catapult them into the unknown – the results were typically sublime. Case in point: the 2009 Gorge “Rock & Roll.” A melodic beast, led in large part by Trey and Page, the jam spends much of it’s 23minutes locked into a loosely-based “Rock & Roll” theme. Highlighted by a brilliant section of interplay by Trey and Page from 10:53 – 18:27, in which the two ride an unshakable foundation from Mike and Page, trading licks and ideas in ways that can only result from close to thirty years of partnership. Building into a rising peak, the jam returns to the “Rock & Roll” chorus proper, before seguing into a bubbly “Makisupa,” that featured Trey and Mike trading instruments. Unique from essentially all other ’09 jams in its clear avoidance of the doctored rhythmic breakdowns and ambient fades that plagued one too many jams throughout the year. The Gorge “Rock & Roll” displayed a keen musicianship and communication in it’s ability to build a lengthy jam off the song’s melody, and sustain it for close to 25min.

“46 Days” – Columbia, MD – 08/15/2009

Perhaps the most underrated piece of music the band has played in all of 3.0? Overshadowed by the dreadful Merriweather Post show it appeared at, “46 Days” emerged in the middle of set II to little-to-no fanfare. A throwaway show just took an awkward turn….Here comes another 5 minute filler….Why play “46 Days” right now????….were all thoughts from fans at the show, listening to the stream, and following the setlist online. Little-to-no attention was paid to it, the show got shat on the next day on PT, and most forgot about the jam by the time Fishman covered Katy Perry the next night at SPAC. Yet going back, it’s clearly one of the top tier jams of the year, and still, one of the lasting moments of 3.0. Wasting no time, Trey initiates a dive into the unknown at 4:38 with an ominous riff, latched onto immediately by his bandmates. Abandoning “46 Days” completely, the jam straddles darkness and light like few jams at the time were capable. Latching onto new ideas with ease, the guys followed each other in a veritable musical dialogue, wasting little time, and not allowing any idea to become stale. A foreshadow of many of the jams that would become commonplace in 2011 and especially 2012, the “46 Days” was one of those rare moments during the early parts of 3.0 where the band showed clear signs of their former selves. Building to a resounding peak from 9:35 – 11:13, Trey directed the jam even further into a beat-driven territory, that peaked again before fading away. A fully realized jam that moved beyond the thematic realm of “46 Days” with little effort, and displayed an innate communication, it was a shining moment in an otherwise forgotten show, and a hidden gem in the 3.0 era.

“Light -> Slave To The Traffic Light” – Indio, CA – 11/01/2009

Just when it seemed Festival 8 would go down as the first Phish festival since The Clifford Ball without a massive foray into the netherworld, Phish busted out “Light” for the first time since the Gorge, taking the song deep into uncharted territory. Initiate by Page’s switch from the baby grand and organs to his synths at 6:49, the band moved away from the loose melody of the jam, and into more spacious, noise-based territory. Where in many of the jams of the summer Trey would fade immediately upon Page’s cue, thus signaling another song, here he layered above Page with staccotoed notes, while Fishman moved into more beatless territory. By 9:46 they’d all jumped onto the noise jam, culminating in a five minute segment of improvisation based around ambient washes and atypical soundscapes. Like a peek into the Phish of old, the 8 “Light” harkened memories of the IT “Waves” in it’s emphasis on nothingness. Hinting at “What’s The Use?” the jam ultimately bled seamlessly into “Slave To The Traffic Light,” capping off an incredible holiday weekend, and sending everyone off to Fall Tour with high expectations. Though the song wouldn’t be fully realized until nearly a year later in Berkely, CA, the 8 “Light,” like the Gorge version before it, displayed the near-limitless possibilities for the song, and proved the band still knew how to throw down at a fest.

“Seven Below -> Ghost” – Albany, NY – 11/28/2009

It was the moment everyone had been waiting for. The moment when Phish would cut the shit, quit trying to be a tight rock band, and just fucking jam. Eight shows into a Fall Tour that felt more like a step back than the great leap forward everyone expected it would be, the band stepped on stage for the last set of their Albany Run, and threw down 50 minutes of uninterrupted improv. While the jam segment has been surpassed time and again in the years since, the “Seven Below -> Ghost” is still regarded as one of the most cherished moments of 3.0 for the ubiquitous celebration that emitted from the arena, and on the message boards in the days following it. Sparked by the band’s refusal to follow Trey back into “Seven Below,” Trey finally relented at 8:06, and the band was off. Stumbling a bit out the gates, the band sounds stubbornly determined to actually jam until 12:10 when the ideas start coming with ease. Reminiscent in ways to their ’94-’95 jams, by which they’d throw ideas at a proverbial wall to see which stuck, once they latched onto a strutting rhythm, garnished by a bubbly melody, they jammed without restraint straight through “Ghost.” From the moment Trey initiated a thematic riff at 16:17, the band built to a massive peak, culminating from 20:33 – 21:03 before shifting into a loose and ominous fade into “Ghost.” If “Seven Below” had taken a few minutes to sort itself out before discovering greatness, the band was so loose upon entering “Ghost,” that they went straight for the jugular. Coming out the gates with a thick groove, the jam initially resembled “Cool It Down,” before teasing “Seven Below,” and then moving into a strikingly melodic jam. Beginning an initial ascent, the theme peaked at 9:43, before turning sinister and grungy. After spending a few minutes wandering from various themes, the jam settled in it’s most thrilling segment, a seven-minute jam off the theme of “Maze.” Peaking repeatedly, it became one of the most raucous, hectic, and powerful “Ghost’s” we’ve ever heard. Fading into an ambient section, the jam concluded to a standing ovation, as fans everywhere let the band know how appreciative they were of them throwing everything on the line. Unsurpassed in many ways until August 2010, the Albany “Seven Below -> Ghost” is still regarded by many as one of the top jams of 3.0.

“Down With Disease -> Piper” – New York City, NY – 12/03/2009

Cueing up the best set of Phish’s 3.0 return to MSG, the band threw down a classic combination of two of their best jam vehicles, resulting in one of the more enamored segments of the year. Riding out a ferocious Type I onslaught off the “DWD” theme, Trey directed the jam into open territory at 9:31. Weaving with fluid motion, and full-band-connectivity, the jam straddled rhythmic grooves and Trey-led builds in ways many jams during the Fall Tour simply couldn’t. Seriously, it is some of the best lead work Trey did all year long. At 14:48 Trey cues a descent from the jam’s surging pace, resulting in five minutes of gorgeous ambient interplay. Highlighted by Page’s choice synth work, and Trey’s blissful interjections, the jam is a shining example of the less-is-more approach, as the band clearly let the jam take hold of their playing, rather than try to force ideas. Flowing with ease into “Piper,” the jam took on a more focused approach, opting for a full-on rhythmic assault, less exploratory in nature, yet still quite compelling. Like a refined version of many of the attempted percussive jams of the tour, the “Piper” concluded near-30 minutes of improv in raging fashion. After a lackluster night one at MSG, the “Down With Disease -> Piper” was the kind of moment many had been expecting Phish’s return to The World’s Most Famous Arena to be full of. Kicking off a monumental set of music, it was yet another transformative moment for the band in 2009.

“Tweezer -> Prince Caspian” – Miami, FL – 12/29/2009

For as talented as each member of Phish is, their best jams almost always come from a place of innate musical simplicity. Case in point: The Miami “Tweezer.” One of the best jams of 2009, yet another step forward for the band in terms of communication, flow, and patience, and a jam that displays little of the bells and whistles that comes with each member’s abilities. Flowing out of the “Tweezer” theme into a sultry funk groove, vocal harmonics are incorporated, a “Manteca” tease is tossed out, Gordo is given a proper spotlight, and a bit of start/stop jamming is implemented, all in the first 13 minutes. 2009 “Tweezer’s” were good. So good that no less than six were considered for this list. What separates this “Tweezer” from the rest of the pack however, is the near-five minute ambient jam that concludes the piece – hinting at “I Am Hydrogen” – before segueing beautifully into “Prince Caspian.” Devoid of the Trey-ADD moments that cut short so many promising ambient jams in 2009 and 2010, the “Tweezer” is given room to breathe, resulting in a contemplative, and fully realized jam. The “Caspian” that follows is akin to many of the revitalized performances throughout 3.0 of the once-hated buzz-kill. Prominently featuring Trey front-and-center, it’s granted the patience of the “Tweezer” with the distinctly arena rock flair it was written for. Though not as esoteric, nor shape-shifting as many of 2010 “Caspains” would turn out to be, the Miami version proved a proper cap to the year’s iconic “Tweezer,” as the overall segment properly sums up the band’s comfort and pleasure with playing together, as could be heard throughout their Miami Run.

Props to the most random union ever to be found on one of these lists. The transcendent 17-minute “Back On The Train” would not have been possible were it not for a mistake by Trey at 6:18. Upon returning to the song after the solo, he riffed the “BOTT” rhythm, but with minored chords. Forging ahead the band diverted their return and directed the jam into uncharted waters. While “Back On The Train” had been extended twice prior – 06/14/2000 and 02/28/2003 – never had it left it’s structure with such ease, yet determination. Moving into an ambient terrain, the jam initially felt like more of an extended outro, until Trey latched onto Fishman’s rising drums at 10:49. Building into a rock-based climb, the band embraced the unknown with open arms, recalling the 1997-esque Hendrix-style guitar attacks that once defined their jams. Flowing through a number of segments of sonic interplay the jam eventually came to rest before segueing into “Wading In The Velvet Sea.” Though not as rewarding in it’s peak as it could have been, the jam is notable for both the absolute rarity of a near-20 minute jam off “BOTT,” and for it’s clear display of the comfort and zealousness the band was enriched with throughout the Miami Run. A run that proved to band and fans alike just how far they’d come, jams like the 12/30 “BOTT” were essential is displaying how successful they could be when they unleashed into the unknown. It’s no surprise either, that, following this performance, nearly every “Back On The Train” in 2010 is a must hear.

“Ghost -> N02” – Miami, FL – 12/31/2009

My pick for The Jam of 2009, the Miami “Ghost” is fully connected piece of Phish that completely displayed how far the band had come in just nine months, and gave everyone reason to look towards 2010 with high expectations. From the moment the song ends, Gordo flipped on his envelope filter, crafting a bubbly counter-melody to “Ghost’s” groove, pushing the song into a dance-based territory. Sustaining the trance-yness of Gordeaux’s bass lines, Trey stuck to the background, refraining from injecting too much, rather allowing the jam to build organically. It was a telling sign of his improvement throughout the year, in that Phish’s best jams in 2009 typically came from moments when he installed a less-is-more philosophy. Since their return, not coincidentally, nearly every failed jam has resulted from Trey trying to do too much. At 6:09 Trey cues a switch to a more rock-based jam, yet Mike stays within the realm of the bouncy, dance melody he’d constructed. Resulting in a strangely organic segment where in which Trey and Page were clearly building towards a traditional peak, while Mike was bouncing from thought to though, and Fishman – much improved from his mid-2009 low point – was sustaining both the rock build-up, along with the dance beats. Pushing into a more melodic segment at 8:20, the band continues the tension & release build, while directing the jam into it’s most rewarding part. Trey takes the lead with some really stunning and gorgeous riffs, all the while layering his thoughts under his immediate licks. While it sounds at 10:56 like they’re going to break down and fade the jam out without any true peak, Trey uses the strutting groove to his advantage, continuing his masterful and melodic onslaught. Some of his most creative playing of 2009 ensues, as he directs the jam into a dream-like territory before teasing “Auld Lang Syne.” Driving the theme into a demented realm, Trey signals the sirens and the band cues up “N02” for the first time since 07/13/1999. A perfect counter to a “Ghost” that had everything, featured each member with equal clarity, and displayed an innate communication that had been gaining steam throughout their return. While certain jams were longer, some raged harder, and a few went deeper into the unknown, the Miami “Ghost” reigns as the jam of 2009 for it’s simple display of the four members abilities and the linear musical communication required for them to reach that place. A jam that still holds up some four years later, it’s a testament to how far they’d come in such a short time.

After a six month break, Phish returned to the stage over Memorial Day Weekend, in Bethel, NY for their 2011 Summer Tour. At the onset of the third year of Phish 3.0 fans had nothing but optimism about the direction of the band, thanks to incredibly inspired 2010 performances during August, Fall Tour, and a blistering send-off show on New Year’s Day. After overcoming a rocky June tour the previous year, the band reemerged on the west coast in August hell bent on pushing their sound past the tepid, quasi-experimentations of the previous 17 months. Armed with a new guitar for Trey and a stretch of shows the brought the band to some of the most unique venues of the era – The Greek Theater, Telluride Town Park – and some of the most familiar – Deer Creek, Alpine Valley – the Phish we all had come to know and love was reborn in front of the entire fanbase. The good vibes spilled over to the band’s three-week October run where they passed over the expected 20,000+ NBA arenas in favor of smaller, more intimate college gymnasiums and the versatile and historic Atlantic City Boardwalk Hall. Slimming down their crowds, the band absolutely destroyed their fall leg – particularly the east coast shows – playing with a fire and adventurism that reminded many of the goofy and zany college pranksters they’d fallen in love with in the late-80’s and early-90’s. Finishing off 2010 with a refined and balanced New Years Run in Worcester, MA and New York City, Phish capped off their best year since 2003 with memorable jams and their first show ever on New Year’s Day that was discussed ad nauseam on the band’s independent message boards. Thus when the band announced a 33-date summer tour, which included a three-day mid-summer festival in Watkins Glen, NY, fans looked to 2011 as the year when the band capitalized on all their growth over the past two, and returned to form as the “best god damn band on Earth,” for reals now.

Kicking off the summer with “Tweezer” – only the most reliable jam vehicle in the band’s history – was a pretty good sign that the creative juices were flowing from the get-go in the world of Phish 2011. When the inspired opener led to a thrilling weekend of shows, Phish fans either at the shows, or listening intently from home, picked their jaws up off the floor and wondered aloud just what in fact we were in for in 2011. Continuing with the exploratory, and unpredictable theme the following weekend in Detroit and Cuyahoga Falls – both shows put on high display the two sides of Phish at their best – it appeared that Phish had completely gotten over their growing pains of 2009 and early 2010, and could literally do no wrong.

However, as the band moved south along the Atlantic coast, the wide-eyed adventurism that had defined the first week and a half of tour faded and was replaced by the nervous, sporadic and inconsistent band that fans had seen far too many times over the past two years. Shows in Camden and Alpharetta, most notably, featured a band unwilling to take risks, craft fully flowing shows, or build upon their past successes. While there were certainly still high points – 06/11/2011, 06/17/2011, 06/19/2011 II – overall, the first leg of the 2011 summer tour, one which had started with such a bang, ended with little more than a whisper forcing many to once again wonder aloud about the direction of the band at the end of another disappointing June.

Returning to the stage less than two weeks later for a 4th of July Festival in Western New York the band appeared for the first five sets of the weekend to have all but abandoned concept of exploration – save for an absolutely sublime “Simple” – and instead, opted for a high octane, energy festival. All of this changed with the band’s late-night secret set – their first since IT’s Tower Jam – when Phish locked themselves in a Storage Unit and spent a hour playing wholly original and organic music, forever altering the paradigm of their 3.0 incarnation. The final show of the festival, occurring a mere 12 hours after “The Storage Jam” is without question the best show the band has played since returning to the stage in March 2009. Comparable to the affect Trey’s new guitar had on their sound a year earlier, “The Storage Jam” breathed new creative life into Phish, and gave their fans the assurance that the stumbling blocks of the last two years was not all for naught.

Spilling over to the west coast run of August, the band once again blew away their June run with a superior August run for the third straight year. Opening with back-to-back barn burners at the spectacular Gorge Amphitheater, Phish crushed their stand at Lake Tahoe, put on an incredibly balanced performance at San Francisco’s Outside Land’s Festival, and just destroyed the intimate UIC Pavilion in Chicago. Finishing off the summer with a three night stand at Denver’s Dick’s Sporting Goods Park over Labor Day, Phish concluded their marathon tour with three killer shows full of gimmicks, rarities, jams, and stellar playing all around.

Two weeks later Phish surprised their fans by announcing a one-night benefit show in Essex Junction, VT. The show was significant for two reasons. First and foremost, the band raised over a million dollars to help flood victims in Vermont, and secondly, it was the band’s first performance in Vermont since their emotional and sloppy exit seven years prior. While the show was light on substance – save for an all-time “Carini” – it was more icing on the cake than anything else for a fan base that had spent the entire summer reveling in the best Phish we’d all heard since 2.0.

With no Fall tour due to the band member’s obligations to their side projects and families, Phish returned to the stage after a four month break for a four-night run at New York’s Madison Square Garden to close out the year. A run that has historically given Phish and their fans an opportunity to both look back upon the year that was, while also offering a sneak peak to their direction in the following year, the vast distance between their final summer show and the NYE run proved to be too much for the band to overcome, as the run proved to be more underwhelming than anything. While the opening show had plenty of the magic fans have come to expect with holiday shows, the band’s energy, their willingness to explore, and, seemingly, their recognition that this was in fact the 2011 NYE Run, diminished with each passing show, leaving many with a bland taste in their mouth. What has usually been used as a guide for what to look forward to the following year, has instead left fans questioning the state of Phish on a level they haven’t since April 2004. With rumors circulating that 2012 will be a “light” touring year for the band, many are wondering if we’ve seen the best of Phish 3.0. As has been proven throughout their entire career, Phish must play regularly to be the band they can be. As we saw in stunning clarity this year, the music created at UIC and Dick’s was only possible after the band spent the entire summer playing together, getting more and more comfortable with each other. If it’s true that we’ll only see a handful of shows next year, and if it’s true that the gap between a significant set of shows will be around 9 or 10 months, then not only will fans yearning for more Phish suffer, but Phish’s music might as well.

Lo, these may well end up being the simple worries of an overly-anxious fan looking for more of the Phish we got this year. With that, let’s get to the countdown of the best shows and jams of 2011. As with last year, I have assembled a list of ten shows and jams that standout as the best of the year. Along with these selections, there are three honorable mentions to each. They are not simply shows/jams 11-13, but rather foundational jams and shows with which the band grew, yet didn’t crack my top ten. The lists are assembled chronologically just like last year, thus reserving the title of “Best Ever” as a subjective accolade. As always download links follow both the entire Jam section, and each individual show’s highlights.

Hope everyone enjoys the list, and hope we get some more awesome Phish in 2012. Happy New Year!

The Best Of Phish 2011

Honorable Jams

“Simple” – Watkins Glen, NY – 07/01/2011

The lone moment of the first two shows of Super Ball IX to really leap out and grab listeners, “Simple” is an ambient masterpiece from the moment it leaves the structure of the song. Building off strong outings for the Gordo-penned tune over the past year – 08/06/2010, 01/01/2011 – the band sits back and just rides the established theme out as far as they can, and then some. Crafting an emotive soundscape similar to the IT “Waves,” the melody simply exists, hanging in thin air as if a stiff breeze will destroy it. In much the same way that Brian Eno crafted the themes on his Ambient series, Phish emphasizes the space within and between notes, rather than trying to wow the crowd with fire. Peaking with a sad, yet and warm riff from Trey that begins around 12 minutes in, the jam is perfect example of what is possible when Phish forgets about all the outside distractions at their shows – curfew, setlist, bustouts, crowd energy – and simply lets the music guide them. Like a piece of music plucked out of summer 1998, the Super Ball IX “Simple” is proof that when Phish wants to conjure up the magic of their past, they’re fully capable of doing so.

“Down With Disease” – Chicago, IL – 08/16/2011

The first of two appearances for “DWD” on this list, their version to open the second set of their second night at the UIC Pavilion in Chicago is still one of the more underrated jams of all of 2011. Probably due in large part to both the epic show played the night before, and the shadow cast by the Pine Knob “DWD” from June, the “UICDWD” simply hasn’t gotten the full respect it deserves. A psychedelic masterpiece in an era where those are hard to come by, Phish leaps from the song’s theme without reprising the jam and dives straight into the unknown, devoting a solid 14 minutes to exploration. A more direct and forceful jam than June’s version, the “UICDWD” is a throwback to the kind of late-60’s/early-70’s era psychedelic jams that would emerge from the song during 1997, rather than the funk or ambient versions that graced it during the latter part of the 90’s, 2.0, and now the majority of 3.0. Unique in it’s direction, the jam is also reflective of the heavy exploration the band engaged in during the previous night’s first set. Moving through subtle funk rhythms, all with a keen eye kept on the disjointed sounds emerging from Page’s moog, Trey works as more of a finisher than leader, offering small ideas within Page and Mike’s theme. All of this peaks around 15 minutes when Trey latches onto a rough, yet danceable melody, and plays around with the melody while it becomes increasingly more and more distorted. Fading into an ambient jam that one would think will simply signal another song, the band instead extends this as well, giving Page and Mike ample time to fill the room with one more dose of psychedelia before choicely moving into “Twist.” A thrilling homage to the Phish of the past, the “UICDWD” is akin to the SBIX “Simple” in it’s ability to show just how much fire Phish still has left.

“Carini -> Tweezer” – New York City, NY – 12/28/2011

In 2010 the joke-metal song “Carini” was reborn. Previously used as simply a shot of adrenaline to either open a show or to throw a crowd off – save for the incredible 12/28/1998 version – on the fall tour of 2010 the band began using the jam as a way to call to the heavens. On three separate occasions – 10/12/2010, 10/22/2010, 10/29/2010 – Trey wove the dark jam into a melodic and uplifting jam. Resulting in stunning beautiful jams in each instance, “Carini” was a part of the Fall Tour transformation that saw the band explore within their songs in ways they simply hadn’t since the mid-1990’s. All of this however, seemed to come to a halt with the onset of 2011 when “Carini” resumed it’s status as a set opening shot of metal. Disappointing fans across the board, the band seemed to turn a corner with the song with it’s performance at Essex Junction on 09/14/2011. The ambient laced jam that emerged in Vermont spilled over to the band’s performance of “Carini” at MSG in December. Sliding easily from the high octane metal jam into a blissful state of sublimity, Trey coated the jam with a bubbly riff that seemed like it was plucked right out of the “Ramble On” from 08/12/1998. Shifting this theme back into the minor key, the band engaged in a full-band segue into “Tweezer” akin to the “Down With Disease” segue into the song during the Dick’s run. Perfectly moving out of “Carini” and into “Tweezer” there is no sign whatsoever of the awkward transitions that have plagued the band throughout much of 3.0. Riding high on their surprise move, the band used the entirety of “Tweezer” to dance around sharp, funk-laced beats, just toying with the crowd they held in the palms of their hands. Moving out of the overt funk theme into a more rock-based, Trey-led jam, the band brought “Tweezer” to a roaring peak before ultimately bringing it in for a soft landing by way of more blissful ambience. Extending the final section of the jam out to its proper conclusion, the band then moves it seamlessly into “My Friend, My Friend,” a subtle nod to how far they’d come since Bethel back in May.

The Top Ten Jams Of 2011

“Boogie On Reggae Woman -> Waves” – Bethel, NY – 05/27/2011

Coming out firing in the first set of the 2011 summer tour with jams in “Tweezer -> My Friend, My Friend,” “Wolfman’s Brother -> Walk Away” and “Kill Devil Falls,” the anything-goes feeling of the opening frame spilled over into set II with the first defining jam segment of the tour. The onset of Mike’s bubbly envelope-filetered bass that led into the band’s classic cover of Stevie Wonder’s “Boogie On Reggae Woman” initially gave fans worry that the set was to turn into a song-based affair, all but tossing the first sets creative peaks out the window. Yet as the song ended Trey chose to extend the mini-jam, generally revolving around Gordo’s bass, and instead built a wall of loops that threatened to descend the piece into chaos, but instead, turned out to be one of the experimental highlights of the show. As the loops became more and more disjointed though, Trey deconstructed the jam, opening up the space within the theme, and ultimately paving the way for “Waves.” Unseen since Red Rocks ’09, “Waves” had been soundchecked the previous night, and the ensuing 27-minute jam had been leaked out to the fan base, only exciting fans further for the upcoming tour. Emerging slowly from the decaying “Boogie On” jam, the jam that built out of “Waves” is among the most blissful moments of the entire summer. Inspired directly from Trey’s affinity for the guitar work of Beach House’s Alex Scally, the jam wove through various passages of soft guitar-driven melodies. Delicately playing over the band’s fluttering melodies, the jam ebbed and flowed like a quiet creek, each time it appeared it was finished, a new theme would begin. Finally coming to a rest in “Prince Caspian” some 13 minutes later, the jam set the bar pretty high for the summer tour, on its very first night. No doubt inspiring some of the heavy explorations throughout the summer, in some ways, the Bethel “Waves” was never topped in 2011.

On the first night of the band’s second weekend of summer, kicking off the midwest portion of the tour, on Mike Gordon’s 46th birthday, Phish threw down a defining segment of 2011, and of 3.0 as a whole. Weaving together three of the band’s seminal songs in a fully flowing, 58-minute jam, Phish built off of the musical high’s of the first two nights at Bethel, and the first night in Holmdel, NJ with a massive jam off “Down With Disease” and standout versions of “Fluffhead” and “David Bowie.” Opening the set with a distorted tease of “Happy Birthday” by Mike, the band absolutely tore through the Hoist-era classic before blazing into the unknown. Building the jam around staccato rhythms, the band fizzled out around 13 minutes in, giving all the impression that the jam would end without much fanfare. However, coming to play on this night just outside of Detroit, Trey wove a sublime riff around the hanging space of sound. Much like the Bethel “Waves,” the jam was re-built anew by this riff, before turning to darker, more sinister place. Peaking some three minutes later, the band once again brought the theme down, indicating an imminent conclusion. However, before the jam could die, Trey and Page latched onto a familiar theme, a classic riff they hadn’t used in a jam in years: John Coltrane’s “A Love Supreme.” Continuing the jam in earnest around the jazzy theme, Phish played around with “ALS” allowing it to push the jam past the omnipresent 20-min barrier for 3.0 jams, and allowing it to build in a fully organic segue into “Fluffhead.” Playing a particularly inspired “Fluffhead,” due in large part to the emotions spilled over from the “DWD,” the legendary composition came to a massive peak, thrilling fans in the amphitheater and streaming the show from their couches. Yet just when fans thought the musical moment was over, Trey looped the final note of “Fluffhead,” distorting it until it became completely unrecognizable, and then segueing it perfectly into “David Bowie.” A song that felt incredibly lackluster and tame for the first year of 3.0, in 2010 “Bowie” was re-born with dark and sinister versions on 06/19/2010, 10/12/2010, and most notably, 10/20/2010. Building off those past highs, the DTE “Bowie” carried over the exploratory sentiments of the “DWD,” though here surging with an eye on the evil. Crafting a masterful version that stands in the top tier of the 3.0 echelon, “David Bowie,” completed the opening hour of 06/03/2011’s set II, a segment that will live on as one of the peaks of not only 2011, not only 3.0, but of Phish’s career when all is said and done.

“The Storage Jam” – Watkins Glen, NY – 07/02/2011

Without question, “The Storage Jam” from Super Ball IX is the single most important event of Phish’s entire 3.0 era to this point. More important than opening 03/06/2009 with “Fluffhead,” more important than the Gorge ’09, even more important that Trey’s Ocedoc. When they played their first festival of 3.0, the Halloween-tinged Festival 8, many fans were up in arms over the lack of secret set. A festival tradition dating back to The Clifford Ball, Phish’s secret sets were opportunities for both the band and their fans to dive completely into the unknown, deep in the night, with the only goal in mind being exploration and pushing their music forward. While many feared that the secret set had gone the way of the 30 minute jam in 3.0, the harsh reality at the time was that the band was simply not comfortable with each other enough again to create any lasting music in an open jam setting. Flash forward to summer 2011 and Phish was primed for some serious exploration, now two years into their return. Fucking with their fans as they love to do, Phish stole away to a makeshift USA Storage unit in the middle of the festival grounds, treating their fans to an hour of completely unwritten improvisational music – save for the loose “Sleeping Monkey” 50 min in – that dove deep into Hades, resurrecting a Phish we hadn’t seen nor heard in over seven years. Implying that they could still jam, the jam’s had just been in storage as they got their feet firmly on the ground over the first two years of 3.0, “The Storage Jam” was unanimously welcomed by Phish fans everywhere as it signified a renewed emphasis on exploration. Spending the majority of it’s first 30 minutes weaving in and out of psychedelic themes, the section from 18 – 22 minutes shines as the most re-listenable music of the jams first half. Full of siren loops, an eerie riff from Trey, repeated over and over, thumping, off-beat Bass from Gordo and Fish, and the first signs of the Theramin in 2011 from Page, it’s the kind of trippy noodling that was at home in Summer 1995, but was more than welcome here in 2011. Around 32 minutes however, everything fucking clicks. As Trey signals a sinister riff, the rest of the band follows suit, building a theme that’s among their most memorable, and could have been plucked right out of a jam rooted in the 06/19/2004 “A Song I Heard The Ocean Sing.” Moving through another ambient movement, a nasty funk jam, and ultimately a hysterical and appropriate take on “Sleeping Monkey” – a song that’s most notably used as an encore any time the band plays a particularly inspired show – “The Storage Jam” came to a stunning finish as Trey buildt the final note of “Sleeping Monkey” to a point of menacing distortion, before ultimately laying it down to rest. A culmination of everything the band had been seeking to do since re-emerging in March 2009, “The Storage Jam” pushed Phish in ways they hadn’t been throughout all of 3.0, and as we’ll see with the following jams on this list, inspired them to continue pushing in search of the unknown.

“A Song I Heard The Ocean Sing” – Watkins Glen, NY – 07/03/2011

The first jam to fully encapsulate the effect “The Storage Jam” had on Phish, the Undermind rarity, “A Song I Heard The Ocean Sing” appeared late in the band’s first set on 07/03/2011, taking the ideas realized in the storage shed, and bringing them to light. Moving past the sinister themes of the songs melody and into the blissful and sublime, the jam is akin to the Bethel “Waves” and SBIX “Simple” in its emphasis of space and time over notes. Perfectly matching the mood of the early July evening, the jam contrasts the song’s theme in it’s melodic tone. After slowly bringing the “ASIHTOS” theme to a close, the mood changes dramatically at 6:57 when Gordo begins to play an uplifting melody. The rest of the band latches onto Mike’s lead and they’re immediately off into the land of blissful serendipity. Stretching the theme out, they then begin to incorporate the space that in 2009 only signified an imminent segue into a new song, yet in 2011 serves as notice of a continuing jam. Further seeparating the “ASIHTOS” from any ambient jam in the formidable years of 3.0, Phish brought the jam to a peaceful conclusion rather than pushing it into a new song. A symbolic nod to “The Storage Jam” some 12 hours earlier, the SBIX “A Song I Heard The Ocean Sing,” helped to craft 07/03/2011 as the best show of 3.0

Sometimes it just all comes together for Phish. On August 5th, 2011, on the first night of the second leg of their 2011 Summer tour, at the wide open Gorge Amphitheater, Phish threw down a stunning 40 minute jam sequence that without question ranks as the single greatest piece of music they’ve played in a concert since returning in March 2009. Busting the second set wide open with their classic take on The Velvet Underground tune, Phish wasted no time in taking “Rock & Roll” deep into the outer reaches. By seven and a half minutes in, any notion of the song’s them was in the rear view mirror as Trey began weaving minor keyed licks around Gordo and Fishman’s grooves, and choicely implementing his whammy pedal into the jam. Page then began pushing the jam even further into the unknown through a repetitive trance via his keys. After building a wall of loops Trey reentered the jam with an Middle Eastern-esque riff that became more and more distorted with each repeat. Mike and Fish latched onto his idea, creating a heavier foundation to the jam, ultimately drawing some powerful “Moma Dance” – esque teases from Trey. Now fully entrenched in the band’s darkest jam since 2004, Page moved from his keys to the Theremin, unleashing the beast from storage, further building the Hellish theme the band had conjured up. Capped off with Gordo’s demented reprise of the “It’s All right” chorus, the jam had fully departed from anything that resembled Phish 3.0 and was instead residing now in a category all its own. Riding the menacing groove to what appeared to be a proper, fading conclusion, Phish had one more surprise up their sleeves. As Trey stepped back and allowed the loops to build and fade on their own, Gordo stepped up and threw down one of the funkiest and most powerful bass licks of 3.0. The rest of the band jumped on the new direction continuing the jam, this time with a harder, more rock-based movement before it led fluidly into “Meatstick.” A joy to hear at any show, this “Meatstick” worked as a humorous bridge, leading the band out the darkness of “Rock & Roll,” before leading into a bass-led theme that would ultimately bring them to “Boogie On Reggae Woman.” The triumvirate was completed with the Stevie Wonder classic, a song which moved from it’s bubbly theme into staccato beats before filtering off in a wall of loops, and ultimately leading into “Farmhouse.” An absolutely stunning piece of music, Phish proved on the first night at The Gorge that “The Storage Jam” hadn’t been all for naught, and that thanks to that hour locked in the shed, they were a band reborn, ready to explore the ethers like they hadn’t in years.

“Light” – Stateline, NV – 08/09/2011

Along with “Backwards Down The Number Line,” no song has meant more to Phish in 3.0 as “Light.” Emerging from a heroic “Tweezer” at Fenway Park back in the Spring of 2009, “Light” quickly became Phish’s go-to jam vehicle during the Summer and Fall of 2009. Peaking with versions on 08/07/2009, 11/01/2009 and 12/02/2009, the song once-again led the way in 2010 with it’s 08/07/2010, 10/19/2010, and 10/26/2010 journeys. However, after a lackluster version on 12/30/2010, the song seemed plagued by a rushed jam segment leading to an awkward transition into another song for the entirety of June. The speed bumps were completely forgotten by the time the band reached Lake Tahoe in early August and threw down a version that joins not only the other two played nearly a year, and two years to the date prior to this, but also the other peak versions of “Light” played throughout 3.0. Reminiscent of the rhythmic experimentations Phish took the song on the previous fall, the Tahoe “Light” blended plinko jam themes with “Storage Jam” – esque noise and textures, creating one of the more mind altering, and unique jams of the summer. Highlighted by Gordo and Fish throughout, the jam was akin to 1997 jams in that Trey and Page’s main roles were to litter the top of the jam with a flurry of ideas and contributions, rather than full on leads. Combined with the Gorge “Rock & Roll,” the UIC “Waves -> Undermind” and the Dick’s “Piper,” the Tahoe “Light” put on high display the affects of “The Storage Jam,” and proved how innovative Phish could still be when diving deep into the depths of the netherworld.

“Waves -> Undermind” – Chicago, IL – 08/15/2011

Seven years to the day after the dream of Phish seemingly died in a drug-induced muddy field in Northern Vermont, the band played one of their defining shows of the modern era, directly contrasting their farewell festival, yet subtly nodding to the sounds of the bygone era. Midway through the second set of the band’s opening show in the storied UIC Pavilion Phish crafted a 25-minute masterpiece comprised of two of 2.0’s staples. Emerging with the third “Waves” since the transcendent Bethel version, the band looked to build upon that version, though instead of focusing on the blissful melodies that naturally grew out of the song’s theme, this time Trey was dead set on crafting a more rock-based, guitar laden jam. Seamlessly flowing into a percussive beat that hinted at “Undermind” four minutes prior the official segue into the song proper, it was Trey’s jam to dominate before he and Mike finally guided the band into only the 11th version of the 2.0 song. Playing a far looser version of the song than had been heard before, Phish wove in and out of each verse with something of wild abandon, giving the song it’s closest alignment to it’s origins. Yet it was when they fully departed from the song’s theme that the real magic happened, and one of the best jams of the year emerged. By turning the song’s rhythmic nature on it’s head, Trey began interlacing the beats with subtle funk chords, moving the melody further and further away from it’s origins. Yet before anyone could latch onto the funk, the music faded, Page traveled over the Theremin, and Trey began lacing together a melody that was fit for a sleeping child. Using the Theremin to coat the music, rather than dominate, the UIC “Undermind” is the best example of the Theremin being incorporated with the band’s sound since they first brought it out in “The Storage Jam.” Allowing the theme to fade off in the ether, one of the most unique jam sequences of the summer, and of 3.0, disappeared into “Steam,” thus continuing the elements set.

“Tweezer” – Denver, CO – 09/03/2011

After two years in which “Tweezer” dominated the 3.0 jam scene, culminating with one of the best jams of 2010 on 12/30/2010, the legendary jam vehicle fell flat during the early part of 2011. Sure there were some promising versions here and there – 06/05/2011 immediately springs to mind – but more often than not, the song would get “Horse’d” or “Julius’d” before it ever had a chance to really be explored. That is until it emerged seamlessly out of a “Down With Disease” jam on the second night of the band’s final stand of the summer in Denver, CO. Moving rapidly out of the funk-based origins of the song into a more melodic and uplifting theme, the jam took on a unique quality all its own, one that would soon evoke memories of the band’s style from the Fall of 1999. With near perfect precision, Trey built a soulful solo above the powerful drums of Fish and Page’s heroic baby-grand. Much like the phenomenal “Light” from 10/19/2010, it was clear the band loved the musical zone they’d discovered as they spent the entirety of the jam residing in it. Rather than moving swiftly from one theme to another as most 3.0 jams do, Phish opted to play within a singular theme, crafting ideas from within it. The result is one of the most sublime and organic jams of the era, a nod to their patient past, and a hopeful sign of things to come in the future. Dissolving into a gorgeous ambient movement, the jam came in for a soft landing before emerging in “Golden Age.” An emotive piece that summed up the band’s place at the end of their summer tour, the Dick’s “Tweezer” is the kind of jam Phish could only play after months of consistently playing together, and shows the benefit of their time and dedication to the road.

“Piper> Harry Hood” – Denver, CO – 09/04/2011

On the final night of their summer 2011 tour, Phish threw down a jam midway through the second set that hit all the highs that had occurred throughout the tour, and celebrated all they’d accomplished over the previous four months. Playing easily the best “Piper” of the year to that point, the band dove into the raging theme of the song before moving at a blistering clip into a playful and danceable section which featured Trey and Fish singing some unknown rhyme in unison with the beat. Building the jam out of it’s goofy interplay, Page stepped to the Theremin for one more go around of the summer as the band engaged in some serious “Storage Jamming.” The nod towards the seminal moment of the summer allowed Phish to bring the jam to natural conclusion before fading into their legendary piece of music, borne out of Trey’s near-death experience in Italy: “Harry Hood.” A song that, while always welcome in 3.0, has time-after-time struggled to live up to the lofty expectations built by it’s just incredible performances throughout the 90’s, the Dick’s “Hood” finally saw Trey in particular nail the song’s ethereal solo, resulting in the best pure version since certainly 2003, but probably since sometime in the mid-90’s. An absolutely sublime moment that resulted in a full on peak of the song’s emotive theme, the Dick’s “Hood” was a celebratory version of the song, capping off an incredible summer tour, and an incredible finale to the tour.

“Piper” – New York City, NY – 12/30/2011

Midway through the second set of probably the weakest show of the 2011 New Year’s run, Phish threw down a “Piper” that clearly built off the stellar version in Colorado four months early and gave a promising sign to fans that “Piper” would once again be used as a regular jam vehicle. Moving through multiple themes at a breakneck pace, much like the “Down With Disease -> What’s The Use?” from 08/14/2010, this version of “Piper” put on high display how connected the band is after almost three years of playing together again, yet all the more making fans scratch their heads over why the NYE run felt so underwhelming. Dramatically moving from chaotic interplay to a blissful melody at 9:19, the band changed on a dime for the wide open soundscapes that defined many of their best jams of the year. Building through siren exchanges from Trey and Page, Gordo filled out the blossoming jam with a massive tug at his envelope filtered-bass, filling the arena with fuzzy bass. Page then took charge of the jam while Trey opted to sculpt walls of sound, giving the chairman of the boards a fitting moment in the sun after a year in which he absolutely dominated the majority of their best jams. Fading into “Twist” the jam which had covered so much ground over 15 minutes, ended with a whisper, a symbolic reference of sorts to Phish in 2011.

Honorable Shows

Merriweather Post Pavilion – Columbia, MD – 06/11/2011

Set I: Daniel Saw The Stone*, AC/DC Bag>Ocelot, Access Me, Vultures, Wilson>Sand>Roses Are Free -> Reba, On Your Way Down>Run Like An Antelope#

Set II: Birds Of A Feather>Tweezer -> The Horse -> Silent In The Morning>Waves>Chalk Dust Torture##, Rock & Roll>Albuquerque>Piper -> Wading In The Velvet Sea -> 2001>Stealing Time From The Faulty Plan>Suzy Greenberg

Encore: Show Of Life>Tweezer Reprise

* First “Daniel Saw The Stone” since 08/03/2003

# “Run Like An Antelope” contained “On Your Way Down” teases from Trey

## “Chalk Dust Torture” contained “Birds Of A Feather teases

After 2010’s epic “Saw It Again”-laced Set II, expectations were high leading up to Phish’s return weekend at Merriweather Post Pavilion. Honoring the fun-filled 06/27/2010 show, the band opened with the traditional rarity, “Daniel Saw The Stone” for the first time since the 2003 IT festival. Mixing the first set with punctual takes on the band’s classics – “AC/DC Bag,” “Wilson,” Reba,” “Run Like An Antelope” – and inspired versions of other rarities – “Access Me,” “Vultures,” “On Your Way Down” – Phish crafted the ideal summer first set. During a week when they struggled to both consistently play with energy and purpose, the first night of Merriweather Post displayed a band at ease and having fun. Mixing surprises with excellent standards, the set just sounds like a June Phish show. For their second set, the band opted for a song-based movement, mixing some of their best jams vehicles – “Tweezer,” “Rock & Roll,” “Piper” – with a few quieter, more introspective songs – “The Horse -> Silent In The Morning,” “Albuquerque,” “Wading In The Velvet Sea”. On paper it took the appearance of some of their less-loved “recital” shows of 3.0 – Hampton 09, 08/15/2009, 10/15/2010, 12/30/2010 – yet when one listens, it is a set that flows perfectly; the amount of songs keeps the listener engaged, rather than frustrated. Highlighted by a psychedelic and distorted take on “Rock & Roll” – subtly hinting at The Gorge’s epic version later in the summer – which smoothly lands in the always welcome “Albuquerque,” a torrid “Piper”, and an absolutely blazing “2001>Stealing Time From The Faulty Plan>Suzy Greenberg” to end the set, the show’s interwoven dichotomy makes it a keeper in 2011.

The Gorge Amphitheater – George, WA – 08/06/2011

Set I: Possum, The Moma Dance>Sample In A Jar, Limb By Limb, Ocelot, Poor Heart, On Your Way Down, Wolfman’s Brother# -> Maze>Wilson>Fluffhead

Set II: Chalk Dust Torture>Tweezer>Prince Caspian>Sand -> Tweezer>Birds Of A Feather, Waste>Golden Age>Reba>Run Like An Antelope##

The night after blowing apart the minds of their fan base with the masterful “Rock & Roll -> Meatstick -> Boogie On Reggae Woman” jam sequence, Phish returned for their second night at The Gorge and played a far more straight forward, rocking show, yet one which displayed better overall flow, particularly in set II. Opening with a string of tunes that one would have expected to have been played the night before, the first set took a while to get off the ground, regardless of how good the band sounded, particularly in “Limb By Limb” and “Ocelot.” Yet when they dropped the Little Feat rarity “On Your Way Down,” the show started in earnest as the final four songs that followed were not only fan favorites, but top notch versions at that. Highlighted by a phenomenal “Wolfman’s Brother” that touched on Led Zeppelin’s “Heartbreaker” before moving on to a disjointed groove, the song was the first genuine experimentation of the night. Seamlessly segueing into “Maze,” the two mid-90’s classic were united in the most random way, yet it worked and set off a firestorm within the crowd. Closing the set with a classic “Wilson>Fluffhead,” the crowd was at a fever pitch heading into setbreak. Opening set II with “Chalk Dust,” it’s first such appearance since it was taken to the netherworld on 06/25/2010, it appeared the band was poised to give their angst-ridden classic the storage treatment. However, the set’s theme was to be tightness, thus when the song came to a roaring end, Trey immediately launched into a “Tweezer” that set off an explosion within the open-air theater. Building the jam around fall-back funk themes the jam held little weight on it’s own, but when it led into a unique and lilting “Prince Caspian,” a shred-fest within “Sand” and ultimately a perfect segue back into “Tweezer,” all was forgiven. The other high point of the set came in the set closing trio of the TV On The Radio jam, “Golden Age” and the contrasting classics, “Reba” and “Run Like An Antelope.” Appearing in the second set for the second time this summer, and only the fifth since 2000, the song gave band and audience alike an opportunity to step back and reflect of the incredible weekend it had been. Finishing the set with an “Antelope” littered with teases of almost every song in the set, the band sent a message of how much fun they’d had at the Gorge, only further emphasized with the “Suzy>Sanity>Tweezer Reprise” encore that almost shook the hill into the Columbia River. Similar to 06/11/2011 in it’s ability to show Phish’s excellence even when they don’t jam, 08/06/2011 is yet another one of those shows that just sounds like Phish in the summer time.

The first night of Phish’s 2011 New Year’s Eve run, 12/28/2011 proved to be the most inspired show of the underwhelming end to the year. Opening with “Free” for the first time in the band’s history, followed by the first “Glide” since MSG 2009 – only the second since the Coventry debacle, and only the fourth in eleven years – the stakes were set mighty high as many thought this run would carry over the inspired playing of the summer of 2011. A jam off of “Cities” in the clean-up spot only pushed the crowd to a roaring peak as Mike and Trey locked in for a jam akin to the one of the same Talking Heads cover at The Greek Theater in August 2010. The rest of the first set was full of tour opener set I standards – “Stash,” “Sample In A Jar,” “Kill Devil Falls” – a couple rarities – “The Ballad Of Curtis Loew,” “Contact” – and a stellar type-I jam in “Bathtub Gin” to close out the first frame. The second set proved to be me the most fluid and experimental set of the entire four-show run, highlighted by a perfect segue from “Carini -> Tweezer,” and a rhythmic jaunt through “Rock & Roll” which found an ideal landing in the least likely of places: “NICU.” Closing the set with a “Harry Hood” that matched the sharpness of the Dick’s version followed by the emotive ballad “Bug,” the band walked off the stage triumphant. Encoring with an unexpected trio of “Tube>Rocky Top>Tweezer Reprise” it appeared Phish could do no wrong and would surpass their past two NYE run’s with ease. However, after the following night’s “The Sloth>You Enjoy Myself” opener, nothing, aside from 12/30/2011’s “Piper” would approach both the song selection, experimentation, nor wild abandonment that defined much of 2011, and 12/28/2011 in particular.

On the second night of Phish’s 2011 Summer Tour the band played an absolute gem of a show, one in which many would expect to come two weeks into a tour, rather than right off the bat. However, after rehearsing extensively on the hallowed grounds of Woodstock in the week leading up to the tour, the band was primed and ready from the get-go, resulting in two highly inspired, exploratory shows out the gates. Opening with “Theme From The Bottom” the show got off to a unique start as the tour had kicked both night’s off with rare openers. Playing a perfect summer set, Phish dove right into the jams with a thick “Cities,” followed by a dreamlike jam in “Halley’s Comet” that spilled perfectly into “Runaway Jim.” Complimenting the rest of the set with tight versions of “Quinn The Eskimo” and “Limb By Limb” the peak of the set came with the closing jam out of “Bathtub Gin.” Typically a type-I shred-fest in 3.0, Trey in particular locked onto a groove right as it sounded as though the band was reaching the final peak and instead diverted the jam in a mash-up of the rare “Manteca” and the theme to “Golden Age.” Toying with the crowd, they wove in and out of this jam before finally bringing it back into “Gin” for a climaxing conclusion of the first set. Opening the second set with the expected “Down With Disease,” the band went on to craft one of their most connected, fully flowing sets of the summer. Taking “DWD” down a softer, more ambient-based path Trey wove lyrical riffs around a porous foundation before stepping back and allowing it to dissolve in a wall of sound. Taking their time to build out of “DWD” and into “Free” the segue was a far cry from the rushed segues into the song throughout much of 3.0. Dropping into “Backwards Down The Number Line” signaled the second significant jam of the set as Trey spent serious time playing around the comeback anthem’s theme before peaking it in a glorious celebration that is really how the song deserves to be played literally every time. Adding some Phish humor midway through the set by way of the first Phish song, “Makisupa Policeman,” the “House” gag that would follow the band throughout their June leg was born out of a story on Trey getting high at each of the guy’s houses. Closing out the set with a classic “Harry Hood>Cavern>Bowie,” plus an always welcome “A Day In The Life” encore, Phish left the stage at the top of their game. A stunning opening weekend to the Summer 2011 tour, the first two nights in particular would go down as some of the best music the band played all year.

There are certain Phish shows when all involved – band and crowd – know going in it’s going to be a classic. A week into their summer 2011 the band dropped into the Motor City for a birthday show for Gordo and played a fully-flowing show that featured a fun-filled Set I, the longest jam of 3.0 in “Down With Disease” and a classic set II, only six-songs long, reminiscent of the band’s experimental throwdown’s in the 90’s. Opening a show for the first time since 2000, “Wolfman’s Brother” provided insight into the energetic and exploratory show the band was about to embark on. A song that really blossomed the previous Fall after a year and a half run as the most consistent tune of 3.0, the version from Clarkston, while remaining relatively contained to its structure, certainly displayed the band’s willingness this early in the tour to pushing their song’s past their 3.0 limit. Filling the set with powerful takes on first set standards – “Funky Bitch,” “Sample In A Jar,” “NICU,” “Chalk Dust” – along with a notable “Mike’s Groove” and a surprise “Tela,” the set grabbed the crowd, and although it didn’t explore too much new territory, showed how sharp the band was in the early part of summer. It was the second set though, that would be remembered for both the incredibly diverse, blissfully stunning jam out of “Down With Disease,” the segues into the classic’s “Fluffhead” and “David Bowie” that followed, and the overall length of the set, all of which combined to make it the early favorite set of the year. After the nearly hour-long triumvirate, the expected breather in “Waste” felt a whole lot more appreciated by the crowd, stunned by what they’d just witnessed. Yet showing how keenly aware they were of the set they were playing, the band capped off the show with a “2001>Cavern” chock full of James Brown teases, and a raging “Good Times, Bad Times” encore. A special show for both band and crowd, Clarkston provided an early peak for the summer tour, one that would be matched by the following night in Ohio, but one that wouldn’t be surpassed until exactly one month later at Super Ball IX.

Blossom Music Center – Cuyahoga Falls, OH – 06/04/2011

Set I: Kill Devil Falls, Guyute, Fuck Your Face>Foam, Ocelot, Rocket In My Pocket, Back On The Train>Guelah Papyrus, Tube+>Run Like An Antelope#++

++ Trey mentioned different band members including Toph before the “Marco Esquandolas” section

^ “Steam” made it’s Phish debut

# “Run Like An Antelope” contained a “Streets Of Cairo” tease

## “Sneaking Sally” contained a “Manteca” tease

### The second part of “Harry Hood” contained a “The Lizards” and a “Have Mercy” tease

#### “Character Zero” contained a “Smoke On The Water” tease

A night after playing their most exploratory jam to this point in 3.0, Phish put on a show that, while it was the antithesis to 06/03/2011, proved that when Phish is really feeling it, it doesn’t matter what kind of show they play. With a first set that contained some uneven flow as the band toyed with rockers – “Kill Devil Falls,” “Back On The Train,” “Run Like An Antelope” – compositions – “Guyute,” “Foam” – and rarities – “Fuck Your Face,” “Rocket In My Pocket” “Guelah Papyrus” – it still retained the magic from the previous night, and proved to be one of those puzzling sets that shouldn’t have worked, but somehow did. In a similar manner, the second set was a far more song-based affair that the previous night, though the band used the format to show off their ability to jam within their songs, as was heard in the disjointed climax in “Possum” and the “Harry Hood -> Have Mercy -> Harry Hood” that gave the set it’s emotional peak. However the set’s true highlights came in the debut of the year’s lone new original, “Steam,” the sublime jam that emerged from “Piper’s” rage and spilled smoothly into “The Lizards,” and the contrastingly menacing jam that built from “Sneaking Sally” and segued brilliantly into “Harry Hood.” Closing the show with a stunning take on the classic, “Slave To The Traffic Light,” the show was proof of how dexterous of a band Phish had become throughout 3.0, and along with the previous night made the June midwest run the band’s best until their UIC trifecta over two months later.

Verizon Wireless Ampitheater – Charlotte, NC – 06/17/2011

Set I: Mike’s Song -> I Am Hydrogen>Weekapaug Groove, Bouncing Around The Room>NICU+>Sample In A Jar, Col. Forbin’s Ascent -> Fly Famous Mockingbird, Axilla I>Wolfman’s Brother, Scent Of A Mule#, Stealing Time For The Faulty Plan

After ten days worth of mostly forgettable shows, defined by recital setlists, aborted jams, and an overall puzzling disconnect from the band, Phish played a rarity-filled, fully flowing summery show in Charlotte, NC that still remains one of the highlights of June, and of 2011 in whole. Opening with the first “Mike’s Groove” opener since 08/15/2004, the band sent a clear message out the gates that they were stoked and ready to throw down a memorable night. Filling the first set with punctual versions of first set standards – “NICU,” “Sample In A Jar,” “Stealing Time From The Faulty Plan” – alongside a heated jam in “Wolfman’s Brother,” and the first “Col. Forbin’s -> Mockingbird” since 07/04/2010, by the time the band stepped off the stage they had completed one of the top three sets of the summer thus far. In the second set, the same ideas that made Set I so much fun spilled over as the band engaged in one of June’s best improvisational moments in “Rock & Roll -> Ghost,” before throwing down a surprise Set II “Reba” – it’s first appearance in a second set since 09/22/2000 – and then engaging the crowd in the ultra-rare “Icculus” – first since 08/14/2009 – and Fishman sung Syd Barrett tune, “Bike” – only the second since 2000. Closing out the show with a raging “Chalk Dust Torture,” followed by the increasingly rare “You Enjoy Myself,” along with the energized “Wilson>Loving Cup” encore, the band kicked off the final weekend of their June run with a memorable show that far surpassed much of the music played during the meat of the tour, and left many wondering why the band had strayed so far from their focus and energy in the first two weeks of the tour in the first place. In any sense, Charlotte is the kind of show that shows Phish comfortable deep within a tour, simply having fun, loving playing in front of their fans. A great show to sum up the overall sentiments of 3.0.

Set II: Big Balls^>Down With Disease&& -> No Quarter>Party Time, Ghost>Gotta Jibboo>Light, Waves -> What’s The Use?>Meatstick>Stealing Time From The Faulty Plan, The Star Spangled Banner

Encore: First Tube

* First “The Curtain” without since 09/09/2000

** First “Fly Famous Mockingbird” with narration since 09/30/2000

+ The narration in “Fly Famous Mockingbird” referenced the previous night’s “Storage Jam” and explained how the band got locked in a storage unit on their way to Colorado in 1988, and that everything since, including the entire SBIX weekend had been a mental projection from the band to their fans.

# “Big Black Furry Creature From Mars” contained a tease of “The Twilight Zone” and “Leave It To Beaver” theme’s from Mike

## “Wilson” contained a tease of “Mind Left Body”

### “Reba” contained a “Dave’s Energy Guide” tease

& “A Song I Heard The Ocean Sing” was unfinished

&& “Down With Disease” was unfinished

^ “Big Balls” (AC/DC) made it’s Phish debut

Hands down, the single best show Phish has played since their return in March 2009. Sure, you could make an argument for 01/01/2011, or 08/07/2010, or 10/20/2010, or even 08/07/2009, but none of those – while phenomenal shows in their own right – have the combined energy, wackiness, exploratory spirit, and overall anything-goes Phish that has defined so much of their career, all packed into one show, quite like 07/03/2011. The result of the previous night’s secret “Storage Jam,” Phish emerged on the final day of their Super Ball IX festival totally relaxed, completely enthralled with their playing, and ready to throw down a show, the likes of which it’s fan base hadn’t experienced in years. Particularly in the first set, it felt as if the band could do no wrong, any song they played, any direction they took it worked, sculpting a first frame full of unique and inspired versions of classics – “Wilson,” “Reba,” “David Bowie” – and rarities alike – “Destiny Unbound,” “Mound,” “A Song I Heard The Ocean Sing.” Starting in earnest with the first “Curtain” without since 1.0, the band dove into “Forbin’s -> Mockingbird” and delivered the first narration for the Gamehendge-era tune since Vegas 2000. Crafting a tale about how the band got locked in a storage unit on their first tour outside of Vermont in 1988, Trey messed with the crowd in classic form, revealing that the band just kept playing music while locked inside, that everything they did between then and 2011 was actually a mental projection from them to their fans. A wholly connected moment for the band and the fan base, the story evoked memories of the wacky stories Trey would tell when the crowd was a mere fraction of the size it’s grown to today. From that point forward the rest of the set was absolute fire, with a best-of-3.0 version – and a few top-10-ever versions thrown in there – that you simply have to hear to believe. Summed up in the “Reba” whistling outro that the band butchered horribly, but used the mistake to distort the gaily music into an eerie “David Bowie,” the set is truly Phish at their finest. Set II was more than anything, the icing on the cake. Opening with the appropriate first time cover of AC/DC’s “Big Balls,” the set featured expansive jams in “Down With Disease,” “Light,” and “Waves,” along with another stellar cover of “No Quarter,” and a deep second-set appearance for “What’s The Use?” Capping off the set with the expected and welcome “Star Spangled Banner,” the boys displayed their incredible musical fortitude by nailing their a cappella cover. A show for the ages, 07/03/2011 took the massive culmination of 2 years as a band that was “The Storage Jam” and showed their fans they were not only keenly aware of the side of Phish they all craved, but that after all these years, and after so much unknown, they were still that band. As would be seen with the August and Dick’s runs, the turning point that was “The Storage Jam,” was not all for naught.

Lake Tahoe Outdoor Arena At Harvey’s – Stateline, NV – 08/09/2011

Set I: Party Time, The Oh Kee Pa Ceremony>AC/DC Bag>Mellow Mood, Rift>Punch You In The Eye>Meat, David Bowie, Bouncing Around The Room, Horn, Water In The Sky, 46 Days

Since the onset of 3.0, two trends have held true: the August run combines the energy and excitement of uneven June shows with a commitment to exploration, and, the West coast produces some of the loosest Phish this side of 1997. Fresh off their transcendent performance at The Gorge – featuring The jam of the era in “Rock & Roll,” along with one of better shows of the year on 08/06/2011 – Phish arrived in the parking lot-turned amphitheater, right in between a casino and Late Tahoe, poised to give their fans a uniquely crafted show that balanced a recital approach in Set I, and a fully flowing, experimental set II. Kicking things off with “Party Time,” “Oh Kee Pa> AC/DC Bag>Mellow Mood,” the show carried the kind of fun-filled summery feel that harkened back to 08/14/2010’s masterful performance. Using the set as a means to highlight some of the band’s best proper songs – “Rift,” “Water In The Sky,” “Horn” – while still saving some time for the funk in “Meat,” diving deep into psychedelia in “David Bowie,” and capping things off with a torrid “46 Days,” it was a diverse outing, one that retained incredible flow. A strange phenomenon in the band’s recital shows, the first set seemed to be eternally connected like an album, regardless of the fact that some of the songs were written more than twenty years apart. Set II was a fully-flowing machine, complete with groundbreaking improv in “Light,” a classic segue for the ages in “Chalk Dust -> Slave,” and a gimmicky first-time rendition of Elton John’s “Rocket Man,” a direct response to the loads of hand-held light-up rockets seen amongst the crowd. Capping things off with a blissful take on “Harry Hood,” a song which has once again returned to it’s role as the emotional peak of whatever set it’s played in, followed by a raging “Walls Of The Cave,” the set was among the more hooked-up moments for Phish in a year full of them. Closing out the night with an emotive “Bug>Coil” encore, Phish walked off the stage having played one of their more diverse, understated shows of the year. A show which let the music speak for itself, the first night of Tahoe was the epitome of west coast Phish.

UIC Pavilion – Chicago, IL – 08/15/2011

Set I: Back On The Train>Rift>Guelah Papyrus, Scent Of A Mule, Jesus Just Left Chicago, Wolfman’s Brother, Anything But Me, Babylon Baby^, Reba>Alumni Blues+ -> Letter To Jimmy Page -> Alumni Blues

After 27 shows, two and a half months on the road, 18 cities, 12 states, and one festival, Phish arrived at the hallowed UIC Pavilion in Chicago, IL about as well-oiled a machine as they had been in all of 3.0. As a direct result, the six shows played between Chicago and Denver to close out the 2011 summer tour is some of the most memorable, consistent, and on-point Phish any of us had heard in years. Playing without restrain, the term 3.0 need not apply to any of the UIC or Dick’s shows, as each displayed a band on top of their game once again, and each would be a highlight in any year. Four of the six shows from the run round out this list, the other two, while they didn’t quite make the cut, are still incredibly memorable shows in their own right. Simply put, were I making a top five list of the year, it’d be the following four shows only narrowly edged out by 07/03/2011. The culmination of Phish’s entire two-year re-birth, reformation and reclamation process, UIC and Dick’s is Phish at their most consistent, zaniest, and absolute finest. Kicking things off with a highly energized set featuring explosive type-I jams in “Back On The Train,” “Jesus Just Left Chicago,” “Reba,” and the surprise set closing classic of “Alumni -> Jimmy Page -> Alumni,” Phish reined in the fever pitch of a crowd gathered in the first indoor shows since 01/01/2011. Rounding things out with a divergent jam out of “Wolfman’s,” plus a heartfelt take the Round Room ballad, “Anything From Me” – only the second since Coventry – the set flew perfectly thanks to it’s rock spirit, yet kept things interesting with both surprise song choices, and inspired moments of variety. Set II however was about as perfect a second set as the band has played since possibly 08/02/2003. Traversing through their Earthly “element” songs, the band kept things tight with a six-song set, allowed the improvisational music that emerged from the songs to craft a tale the band hadn’t flirted with since 2.0. Anchored by a fully hooked-up jam within “Waves -> Undermind,” the set also featured a seedy “Sand,” and the band’s best performance of the 2011 debut, “Steam,” until 12/31/2011’s sinister take. Walking off the stage after “Fire,” many, while incredibly satisfied, were confused at to why the band chose to end the set after only an hour. Yet, fucking with their fans as they may, Phish treated the crowd to a five song encore, featuring the ultra-rare – “Camel Walk,” – the massive composition – “Guyute” – and the most ethereal Phish song of them all – “Harry Hood. A show for the ages, 08/15/2011 kicked off a run of shows that were played in a way we hadn’t seen nor heard since 1.0.

A night after playing one of their most connected, on point improvisational sets in years, Phish returned to the UIC Pavilion and played a much more structured and song-based show, yet one that flowed just as well as it’s predecessor. Cruising out the gates with two gag openers – “Dinner And A Movie,” “Ha Ha Ha” – followed by an atypical take on “Chalk Dust Torture,” it was clear the energy from the previous night hadn’t subsided. Yet, where most of the band’s notable recital shows featured standard takes on standard tunes – just more of them – this set wove through various eras and styles of Phish, keeping listeners on their toes for it’s entirety. Featuring jams in “Walls Of The Cave,” “Runaway Jim” and “Ocelot,” along with humorous breaks in “Mexican Cousin” and “I Didn’t Know,” the boys threw a curveball by ending the set with the emotional, late-in-the-evening styled Stones’ tune, “Let It Loose,” seen for the first time since Indio. Returning to the experimental innovation that carried the second set the previous night, Phish came out blazing with a stunning “Down With Disease,” one that was only surpassed by the 06/03/2011 version this year. Moving seamlessly into “Twist,” it sounded as though the band was going to revive the once-jam monster, however, after an extended take on it’s blues themes, the flow of the overall set took over. Filling out the meat of the set with strong renditions of “Number Line,” “Theme” and “Golden Age,” the latter of which segued effortlessly into the always welcome, “A Day In The Life” – a show with a Beatles and Stones cover is never one to complain about – Phish ended the set with only the sixth “You Enjoy Myself” of the year. A song which had been used to close out literally every run in 2009 and 2010, it’s sudden rare quality made it far more appreciated than it had become in 3.0. Playing yet another extended encore the band treated the crowd to some of Trey’s best guitar work of the night in “Heavy Things” and “Slave,” before saying good night with “Rocky Top.” Carrying over the inspired playing of the previous night, 08/16 proved that at this point in the summer of 2011, it didn’t matter what kind of show they played, for whatever they played, they fucking nailed.

#### “Run Like An Antelope” and “Tweezer Reprise” contained “Down With Disease” teases

& “Down With Disease” was unfinished

The second night of the Labor Day Weekend Finale to the 2011 Summer tour featured a balanced Phish firing on all cylinders. Mixing rock with jams and gimmicks in a fully flowing setlist that displayed the entirety of their catalogue, the band continued the fire which started in Chicago, carried over to 09/02’s “Sssssss” show, and would see them end the summer at the top of their game. Opening with a string of well-played, first set standards, the show popped with an energy one wouldn’t expect with a “Moma,” “Ocelot,” “Funky Bitch” showcase. Yet things really began in earnest once the band dropped the rare “Axilla I,” and followed it with the triumvirate of “Llama,” “Fast Enough For You” and a raging “Wolfman’s Brother” to close things out. Ending on such a high note, it was reminiscent of 08/06/2011’s first set which started in much the same way, and ended just as hot. Opening Set II with the second-ever “Down With Disease -> Tweezer” – the first since 08/02/1997 – was about all the sign anyone needed as to what kind of set we were in for. Developing into an absolutely transcendent jam, “Tweezer” quickly wove from an A-minor funk-fest into a dreamlike Fall-99-esque passage that showed off Trey’s chops and displayed the band’s full-on connection this late in the summer. Peaking numerous times before dissolving into “Golden Age,” the jam continued the Summer 2011 trend of risk and reward with various types of jamming in the world of Phish. Highlighting the middle of the set was a searing “Kill Devil Falls” that warped into a swill of ambient noise before moving with ease into “2001,” the sequence displayed Phish’s career-spaning ability to meld styles that don’t appear to fit at first listen, this time with barroom rock and space-aged funk. Moving into “Light,” the song stopped briefly in a blissful theme before rising back into a full-on “Down With Disease” jam, thus sandwiching the first half of the set. Bringing the show and set to a fiery finish with “Cavern>Antelope,” along with a classic “Sleeping Monkey>Tweezer Reprise” encore, the show ended on a peak, one that would spill over to the following night, the final night of the tour. A mix of jams and energy, 09/03/2011 was reminiscent of the second night of tour way back in May, in it’s fully-flowing spirit, and moments of transcendent improv.

Dick’s Sporting Goods Park – Commerce City, CO – 09/04/2011

Set I: Maze*, Back On The Train#>Rift>Bathtub Gin##, The Way It Goes^###, Halfway To The Moon, Gumbo, Halley’s Comet -> Tube####>Timber>Roses Are Free>Chalk Dust Torture

# “Back On The Train” contained a “Sneaking Sally Through The Alley” tease from Trey

## “Bathtub Gin” contained a “Low Rider” tease from Trey

### “The Way It Goes” contained a “Streets Of Cairo” tease from Page

#### “Tube” contained a “Charlie Chan” tease from Trey

##### “Twist” contained a “Low Rider” jam

###### “Piper” contained a “Roadrunner” tease

####### “Ghost” contained an “Oye Como Va” tease

######## “Walls Of The Cave” contained “Rock & Roll” teases from Page

^ “The Way It Goes” (Gillian Welch) made it’s Phish debut

* First “Maze” opener since 12/09/1995

** First “Come Together” since 12/08/1995

& “Come Together” was unfinished

% “Piper” featured Page on the Theremin

A journey that began on the site of the original Woodstock Festival way back in May, over Memorial Day Weekend, concluded in a soccer stadium, in the industrial offshoot of Denver, CO, over Labor Day Weekend. Thirty-three shows deep, Phish used all the time committed to playing together throughout the summer to throw down one more show that will stand the test of time in 2011. A true two-set affair, Set I was all about the energy, while Set II was a fully flowing beast of jams and gimmicks, rarely stopping, displaying the band’s total connection and ability to go in any direction with their music. Opening with the first “Maze” opener since the legendary 12/09/1995 show that features maybe the greatest “You Enjoy Myself” of all time, the band seized upon the palpable energy of the crowd, and exploited them for all they were worth. Tearing through the Rift-era shot of adrenaline, they moved swiftly into a trio of “Back On The Train>Rift>Bathtub Gin,” the latter of which featured a jam so heated, it brought back memories of the 05/28/2011 “Ginteca” affair. Pausing briefly for a one-time take on Gillian Welch’s “The Way It Goes,” and the Page-penned gem “Halfway To The Moon,” the band revived the energy in earnest with a six song sequence of adrenaline that read: “Gumbo, Halley’s>Tube>Timber>Roses>Chalk Dust.” It was the kind of set that, upon ending, left all in the crowd wondering what had just happened and how in the world the band would top that. As they’d done throughout the entire year though, just when one thinks they’ve reached their peak, Phish has dug deep to wow their fans even more. Set II’s of tour closer’s are generally reserved for the band to revisit the song’s and ideas that brought them the most success throughout the year. Thus, it was incredibly appropriate for the band to open their 2011 tour-ending set with their cover of “Rock & Roll,” after playing such memorable versions on 06/07/2011, 06/11/2011, 06/17/2011, and 08/05/2011. Building the jam to it’s raucous peak, the band brought it down into a wholly groove-based segment before easing into a welcomed surprise of The Beatles “Come Together.” Albeit a sloppy version, the sheer fact the band had discovered this Lennon-gem by way of The Velvet Underground, for the first time since playing it on the fifteen-year anniversary of Lennon’s death, made the sequence of music all the more special. Allowing “Come Together” to bleed right into “Twist,” the band united their music with that of the past, a respectable move, and one they’ve gained the ability to do after so many years. Melding the Ghost-era jam vehicles, “Twist” and “Piper” together as they’ve been so many times before, the band took “Piper” on a ride it hadn’t experienced since 06/27/2010 in Merriweather. Landing in a full-on jam based around The Modern Lovers’ – and one-time Phish cover (09/11/2000) – “Roadrunner,” before launching into a “Storage Jam” centered around Page’s Theremin the jam was insanely diverse and displayed Phish’s uncanny ability in 3.0 to jump from idea to idea without wasting time hooking up. Honoring the style that was discovered in the wee-hours of 07/02/2011, “Piper” concluded a month’s worth of jams that explored the dark side in ways the band simply couldn’t up until now. Fading into “Harry Hood,” Phish played their old reliable emotional peak of sets with a precision, and a drive that they hadn’t in years. Capping off the first part of the set, this “Hood” was the culmination of a journey that began with the first “Hood” with Trey’s Ocedoc back on 08/07/2010. Honoring the simple, building quality of the song, Trey played within the theme like it was 1995, waiting for just the right moment to return with the “You can feel good…” conclusion. “Roggae” followed which gave everyone a chance to step back and breath, before “Ghost” kicked off the final segment of the set. Shifting quickly into a major-keyed jam like so many “Ghost’s” have since 12/31/2010’s peaking gem, the jam built around a thunderous theme, hinting at something within the vast memory bank that is Phish, finally materializing into the second-ever live version of “Guy Forget.” Not played since 10/01/2000, the gimmicky tune about the tennis star, injected the jam with some serious humor, without compromising the musical integrity. Sandwiching the song in “Ghost,” Phish closed out the set with the 2.0 masterpiece, “Walls Of The Cave,” before encoring with the 3.0 anthem, “Backwards Down The Number Line.” The absolutely perfect song to close out the show, run, and tour with, “Number Line” signifies everything Phish in their current state is about: family, friends, and the overall joy of playing music. Closing out the meat of their 2011 touring season with an absolute barnburner, Phish showed how far they’ve come since their humble comeback weekend in Hampton, VA back in March 2009. While the rest of the year featured either no Phish, or less-than-amazing Phish, none of it matter, for 2011 will go down as one of the better years of Phish when all’s said and done. Constantly building since their return, one can only imagine where they’ll go from here once they kick off the 2012 tour.

——–

Thanks to Phish.Net (www.phish.net) and The Mockingbird Foundation (www.mbird.org) for organizational assistance and sourcing of setlists!

——– Back in 2010 I managed a blog titled The Suffering Jukebox. While it was a general music blog first, I used the opportunity to push my thoughts on Phish through the medium. These next two posts are a look back at my writings on Phish in 2010 and 2011. Part revisionist/Part preview of the Best of 2012 post I have in the works. More than anything, they offer us a look back at how far Phish has come in 3.0 ——–

With their year-long reunion tour behind them, many within the Phish community looked towards 2010 as the year when Phish would once again reclaim the title of “Best Goddamn Band On The Planet” that they had earned throughout the 1990’s, yet strayed from for much of the past decade. With a serious, back-to-basics campaign throughout their entire reunion year, all signs pointed towards the band evolving in much the same way they did in the early 90’s. To listen to a Phish show from 2009, one could take away many similarities to their sound in 1991 and 1992. There were very few jams, shows were very song-based, and for the most part, they nailed each of their complex compositions. This kind of dedication towards playing their songs right was a far cry from the sloppy, yet heavily experimental Phish that fell apart with such lack of care in 2004. Yet while many could argue that the playing was tamer and less adventurous than the band had been from 1994-2004, those with a keen ear towards their past knew that there would have been no heavy experimentation from the band without the years of tight, jam-less shows, where the band focused on chemistry, and hitting all their changes, rather than exploring the ethos.

Thus when the band concluded 2009 with an energized, fully-flowing, and yes, experimentally-heavy four-show New Year’s run in Miami, many saw this as a microcosm of the band’s evolution in the 1990’s. Many expected 2010 to kick off with a bang, as the band – a year of getting comfortable with each other on stage, and with playing their material, under their belt – could now relax and combine energized, sharp-playing, with the improvisational creativity that harkened back to their glory days of the mid-90’s.

And yet, as can be with art, not everything went as planned. While Phish opened 2010 with arguably their best tour opener since 1999, their string of shows throughout June hit multiple speed-bumps due in large part to Trey’s inability to relax on stage and let a jam build organically. Along with this was his overwhelming reliance on the Whammy Pedal – known affectionally throughout the community as the “Whale Call” – an effect which shifted pitches on his guitar creating more soundscapes rather than melodic guitar lines. While definitely a choice effect for ambient/noise-laced jams, many fans took issue when seemingly every composed piece, and every jam – no matter the style or direction – was suddenly bombarded by the whale. By the time the tour closed with a gimmicky 4th of July show, many were openly questioning the band’s direction, and why they seemed to be so lost after a year of such promise.

Returning to the stage in early August, for an eleven-show run that crossed the country, hitting only five-venues, many were skeptical, beginning to expect Phish to underwhelm them, rather than blow them away like they had so many times before. Yet mid-way through the first set of the band’s second show of the tour, everything clicked. Maybe it was the confined, archaic Greek Theatre, maybe it was the cool Bay Area air wafting up to the stage, maybe it was the spirit of the Grateful Dead, maybe it was the new guitar Trey was playing – one that held a deeper tone, thus making pitch-shifting less of an ideal effect, thus forcing him to play lead guitar once again – maybe they had just been together long enough once again, and everything finally fell into place. Whatever it was, when the band launched into their cover of the Talking Heads’ classic, “Cities,” they settled back into a groove that built through eleven funky minutes, culminating with a pristine segue into “The Moma Dance.” Listening to a live stream of the show, one could literally hear Trey sit back and let Mike and Fish build on a theme, while he and Page offered staccatoed licks over the gooey foundation. Realizing what they were witnessing, the crowd let off an astounding roar, pushing the band further into the unknown. What had once been commonplace within a Phish show was realized once again, as the band seemed to reawaken once again to everything that could happen on stage if they just allowed the music to carry them.

The entire paradigm of Phish 3.0 changed in those eleven minutes. Late in the second set, the band took “Simple” on a fifteen minute ride that touched on melodic ambient themes, moving through multiple segments before segueing into “Backwards Down The Number Line.” The next night the band topped themselves with an energized, classically flowing show that featured what many considered to be the jam of the year in “Light.” For the remainder of the tour the band re-discovered their improvisational spirit, crafting memorable jams out of “Carini,” “Down With Disease,” “Prince Caspian,” “Drowned,” “Backwards Down The Number Line,” and more. Combining their renewed spirit for simply playing their songs with the adventurousness that defined their latter years, many began to openly pronounce that we were on the verge of witnessing the greatest incarnation of Phish there was.

Building off of this energy, Phish played a fourteen-date Fall Tour in October that not only confirmed the renewed innovation in their playing, but in many ways, far surpassed anything they had done in all of 3.0. Returning to many smaller arenas they hadn’t played since 1994 & 1995, there was a noticeably youthful flair that dominated many shows on the Fall tour resulting in a combination of energy, gimmickry and improvisation, thus putting the stumbling blocks of 2009 and early 2010 far in the band’s rear view mirror. Be it their perfectly flowing, pristine setlist from the second night in Charleston, or their playful sets, full of rarities and back-and-forth segues in Augusta, Utica, Manchester, and the second night of Atlantic City, or their all-around solid shows – that year ago would have been duds – from the third night in Broomfield,, Providence, or the first night in Amherst, no longer did it matter what Phish played, for how they played seemingly always came through. Full of surprises, energy and power, the Fall Tour reminded every Phish fan why this band had captured them so many years ago. Topped off with a top-notch Halloween cover of Little Feat’s Waiting For Columbus, an album that perfectly matched the band’s current style, Fall Tour ended with Phish fans more excited for the future of Phish than any time since 1998.

Closing the year off with an unprecedented five-night New Years run in Worcester, MA and New York City, the band condensed the energy and excitement of the monumental year, into five shows, each with stand-out performances. While the Worcester shows offered a more mellowed affair, mixing rarities with more emotive jams, by the time they stepped on stage at Madison Square Garden on 30 December, the band was fully-oiled, and ready to explode. Throwing down memorable jams in “Tweezer,” “Ghost,” “Walk Away,” “Sand,” “Walls Of The Cave,” and “Simple,” the band sounded far more mature and capable than they had just one year earlier when they had taken their talents to South Beach. And fusing their past and present through one of their best New Years gags in years – bringing the 1994 hot dog out of retirement to ride around the Garden, while a chorus of international dancers sang the “Meatstick” – the band reminded anyone still wondering, that they were still the same goofy pranksters from Burlington, now just a few years older. Playing one of the best shows of the last year on their first ever New Years Day performance, the band sent a message that 2010 was not a definitive culmination, but was once again part of a climaxing process that will lead to yet another peak in their career. Who knows exactly what 2011 will bring for Phish, but one thing is certain: the band has regained their energy and is fully comfortable on stage again, and can annihilate full arenas through their music in the same way they did fifteen years ago. However one plans on seeing shows in 2011, be it on tour, or on couch tour, look forward to what’s certain to be an excellent year from The Phish From Vermont.

Below is a list of my Top 10 Jams and Top 10 Shows of 2010. Each list contains three honorable mentions. These are not simply shows/jams 11-13, rather they are shows/jams that were excellent in their own right, and helped to build the foundation of Phish in 2010, yet didn’t crack my final ten. Each list is organized chronologically to ensure flow from the start of 2010 to the end. There is no ranking, these are simply the best ten shows/jams of the year. Below each show is a download link, and there is a link after the entire list of jams.

Hope everyone enjoys these shows and jams! Happy New Year!

The Best Of Phish 2010

Honorable Jams

“Cities” – Berkeley, CA – 08/06/2010

The much-needed kick in the ass to Phish 2010 came five songs into the band’s second show at the intimate Greek Theatre, via their longtime cover of the Talking Head’s “Cities.” A song that had once been a guaranteed trip into the netherworld, “Cities” had been demoted to first set filler throughout much of 3.0, always certain to ignite a crowd through it’s infectious grooves, yet constantly leaving much to be desired. All of this changed in Bay Area this past August when Trey – known to rush the end of every jam – sat back on a thumping groove from Mike, and let the jam build organically. What ensued after the composed section of the song was a four minute clinic in groove, fooling anyone listening that it was the summer of 1998 rather than 2010. While there were more exploratory and innovative jams from the band in 2010, without the “Greek Cities,” one has to wonder the direction the band would have gone in for the remainder of the year.

“Reba” – Augusta, ME – 10/19/2010

Played as an encore for the first time in eleven years, Phish dropped this normally first set composition after playing one of their most inspired sets of the young Fall tour. While “Reba” had improved considerably throughout the summer, resulting in some of the most inspiring Type-I jams of the era, the “Augusta Reba” was a whole different beast all to it’s own. Departing completely from the structure of the rising solo, Trey directed the band into a darker realm, resulting in yet another tease of the elusive “Manteca.” Extending the jam through five minutes of unknown territory, the performance sent out a bold message that the antics of the second set, and the accomplishments made thus far throughout the tour were not all for naught, and that the band was keenly away of their inspired playing. Representative of the “anything goes” spirit of Fall Tour, the “Augusta Reba” shocked the hell out of everyone when it was first played and has had lasting power over many jams from the rest of the year.

“Seven Below -> What’s The Use?” – Worcester, MA – 12/27/2010

The first significant piece of improv on the New Year’s run came in the form of the weather-apt “Seven Below,” and it’s smoothly executed segue into the ambient “What’s The Use?” A song everyone knew was coming as a result of the horrid travel conditions for most fans heading to Worcester, when “Seven Below” dropped midway through the first set of the run, many anticipated a huge musical moment coming. Moving through a percussive section that still retained elements of ambient themes, the jam in “Seven Below” matched both the song’s title and weather in it’s icy feel. As it became more melodic, Trey began teasing the theme of “What’s The Use?,” ultimately segueing into it some nine minutes later. Always a welcome treat since it’s bust-out a year before in Miami, “What’s The Use?” finds itself on this list twice, both times perfectly matching the jam it emerged from and the mood of the set it was placed in.

The Top Ten Jams Of 2010

“Tweezer” – Hartford, CT – 06/18/2010

Midway through the second set of the first complete show of 2010 came the “Tweezer” everyone was waiting for. While much of 2009 had been reserved for a back-to-basics approach throughout their songs, anytime the band played “Tweezer,” everyone knew a powerful and inspired jam would emerge. Thus when they kick-started “Tweezer” in Hershey, PA, three nights into their summer tour, many expected a massive jam to be played. However, the version was more underwhelming than anything else, ultimately petering out into “Twist.” Less than a week later however, Phish played “Tweezer” again, this time giving it it’s proper 2010 due. Patiently entering the jam, Trey allowed Mike to build a solid and funky base, creating a dance-party throughout the Hartford Meadows. Yet the jam truly took off in it’s second section when Trey began offering more melodic leads, building the jam into a major-keyed, triumphant jam. Pushing the song to its extreme, Trey allowed the theme to wither away slowly, extending a contemplative ambient section far longer than he normally would. When it finally emerged in “Theme From The Bottom” some seventeen minutes after its inception, no one could utter a word.

“Chalk Dust Torture” – Camden, NJ – 06/25/2010

One of the rare Phish songs to serve as both an arena rock anthem and a free form improvisational excursion, “Chalk Dust” had seemingly been regulated to show opening rocker for 3.0. That is, until the second night of Camden this summer. Midway through an ultimately underwhelming tour, Phish was in search of inspiration in anyway they could find it. In effort to find a new, bold direction, the band opened the second set of the show with “Chalk Dust Torture,” a song that was normally played in the first set of shows. Immediately latching onto a searing minor theme once the song’s final chorus had been sung, Trey harnessed the powers of his Whammy Pedal, sculpting a wall of sound that allowed Mike, Fish and Page to build a groove-based jam. Yet the real hero of the jam was the bass-weilding mastery of Mike Gordon. As the jam began to lose direction fourteen minutes in, Gordo hit his envelope filter and unleashed a disco-infused theme that carried the song to yet another peak, before it dissolved. Once again proving his MVP-status throughout 3.0, Mike took this jam from simply a welcomed experiment, to one of the strongest musical moments of the entire year.

“Simple” – Berkeley, CA – 08/06/2010

While the “Cities” played in the first set of the second night at the Greek Theatre sent shockwaves throughout the Phish community, at the time no one knew if this was a one-and-done moment of inspiration or a theme that would carry throughout the remainder of the tour. After all, a year before, the fanbase witnessed as Phish took us on a fifty-minute excursion in Albany through “Seven Below -> Ghost,” only to see them reign in their improv considerably by the very next show. Yet as the composed section of “Simple” fell away, listeners could distinctly hear Mike and Trey hooking up through a looped melodic theme that Page and Fish quickly latched onto. Building on this playful theme for a few minutes, the band took the jam on a bubbling ride that peaked with choice and bright tremelo chords from Trey. Building through fifteen minutes of upbeat jamming, the song came to a proper conclusion as it spilled over into the appropriate “Backwards Down The Number Line.” While the “Cities” jam may have been the spark that lit the flame, the “Simple” reassured a fanbase desperate for creative playing from Phish.

“Light” – Berkeley, CA – 08/07/2010

Far and away, the song of the year, the version of “Light” at the Greek ranks up there with the best jams of 2010 and of the entirety of 3.0. Bursting out of the conclusion of “Wilson,” “Light” traversed through nine minutes of tension-and-release soloing from Trey before opening up into a vast ambient landscape that displayed an interplay and patience from the entire band, unseen prior in 3.0. Ditching his whammy pedal entirely, Trey latched onto the emotive theme established by Mike, offering choice licks around his swirling bass lines. Complimented by a renewed, rhythmically-charged Jon Fishman and beautiful fills from Page, the jam moved effortlessly through the unknown, reminiscent of the band’s playing from 1998-2000. In the midst of the band’s creative reawakening, the “Greek Light” is unsurpassed in terms of its role in pushing the band further into the unknown, while giving them direction and a foundation to build on for the remainder of the year.

The centerpiece of one of the band’s best shows of 2010, the jam out of “Down With Disease” that effortlessly segued into “What’s The Use?” stands out as representation of the renewed exploratory spirit that overtook the band throughout August. After tearing through a blistering and precise solo, the band jumped on one percussive theme after another, resulting in a constantly unwinding, relentlessly exploratory jam that pushed further and further into the unknown through full-band interplay. Easily the most diverse jam the band has played in all of 2010, the song moved with such a frenetic pace that it’s hard to zero in on a single theme that reigns supreme. More than anything, the most impressive aspect of the jam, aside from the connectivity the band played with, was the fact that the segue into the airy “What’s The Use?” literally sounded composed. It is the most graceful segue the band has played in all of 3.0, one that came out of nowhere but fit perfectly as an extended fade after the relentless climb that was the seventeen minute “DWD.”

“Backwards Down The Number Line” – Wantagh, NY – 08/17/2010

Ever since it was used to kick off the first second set of Phish’s reunion show in Hampton, VA back on 06 March 2009, “Backwards Down The Number Line” has in many ways represented everything that is Phish in it’s 3.0 incarnation. A song of celebration and friendship, the song was originally a poem Tom Marshall wrote to Trey on his birthday in 2007, in attempt to reestablish contact with his recovering friend. Within five minutes Trey had given the song a melody, and in that moment the first hopes for Phish’s renewal were born. Yet for as emotionally uplifting as the song is, it has also become something of an enigma through its performances. At times an eight-minute Type I guitar solo, at others a fifteen-to-twenty minute excursion into the unknown, each time the song emerges, the entire crowd is left wondering what kind of “# Line” they’re about to hear. The version played on the first night of Jones Beach this past summer is without a doubt the song’s best, for the band combined the uplifting, melodic quality of the song’s theme, with an extended jam that lasted for fifteen glorious minutes. In the midst of one of their most unique, best flowing sets of the summer, “Backwards Down The Number Line” shone as the most inspired moment of the night, and one of the most enjoyable jams to re-listen to in 2010.

“Light” – Augusta, ME – 10/19/2010

My vote for jam of the year, and for the best jam of the entirety of 3.0, the “Light” played in Augusta, combined the exploratory spirit of Fall Tour with the highly energized, thematic jamming that was everywhere throughout their shows, in a jam that displayed connection and patience unlike any other. Moving rapidly through the song’s post-lyrical segment of tension and release, the band settled down by eight minutes in, into a melodic and bouncing theme that they would use to build their most connected jam of the year over the course of the next six minutes. Stripping away the fat, the band focused on Trey’s melodically staccatoed riff, building with him with the unison of a four-instrumented beast. Yet where in the past they would seek to build the theme quickly before quickly moving onto a new segment or song, the beauty of this “Light” is in the fact that the band took such noticeable pleasure in the theme, playing within it for five minutes of glory. Without a doubt the most inspired theme the band had stumbled upon to that point, the jam was a watershed moment in the tour, pushing them to continue searching for more hidden moments throughout the vast unknown of improv.

While their show in Utica is generally renowned for the “Guyute,” “David Bowie -> Guyute -> David Bowie -> Wilson -> David Bowie -> Wilson -> David Bowie, Wilson -> Guyute -> Wilson” monstrosity in Set I, the true brilliance of the show came late in Set II through the “Split Open & Melt” sandwich that contained “Have Mercy,” and “Piper” within it. Since their comeback in 2009, no song has been as controversial as “Split Open & Melt.” A dark and seedy song by nature, the band has used it as their sole excursion to the disjointed and dark side, resulting in either terrifically nasty jams, or overall distorted, collapsing failures. Loved or hated, there has been no middle ground for “Split Open & Melt” in 3.0. So when it appeared late in the second set of the runaway show of the tour, there were those who rejoiced, and those who cringed at what was to come. By the end of the segment, literally all fans would be blown away by the musical craftsmanship displayed by the band throughout twenty torrid minutes. Dropping out of the rising theme almost immediately after the composed section finished, the band directed “SOAM” towards the abstract and ambient before Trey emerged with a gorgeous theme, soon recognized as the elusive cover of “Have Mercy.” Played for only the second time since 1999 – and the fourth since 1994 – the song was a welcome bright spot in the jam, with every fan noting it’s significance. Yet almost immediately after Trey stopped singing, he reverted back to the disjointed theme that typically dominates “SOAM,” signaling what many figured would be a segue back into the song. However, Trey had other ideas, stretched the jam out for seven minutes before cuing up fan-favorite “Piper.” A song whose jam has become increasingly nonexistent, Phish took this version on a powerful ride, teasing the jam of “Birds Of A Feather,” before locking into the theme of “Split Open & Melt” and directing the jam back to the origin of the excursion. While certainly no one would argue that the song was without some serious sloppiness, the greatness of it came in it’s harnessing of Phish’s playful spirit, and the twisted territory it explored. A jam that stands up to it’s gimmicky show, the “SOAM sandwich” was one of many moments from the Fall tour that sounds as good on speakers as it looked on paper.

“Tweezer” – New York City, NY – 12/30/2010

The Set II opener of the band’s first of three shows at Madison Square Garden, “Tweezer” was exactly what the show needed after a fun, albeit awkward first set. Building through two distinct segments, the jam was patient, it was incredibly exploratory, it was dark and seedy, and it was representative of everything the band had accomplished throughout 2010. After a funk jam led the song out of its gates, Trey brought the band back through a noise-laced ambient jam that didn’t fit the bill as your typical ambient fade into a new song. Instead, Trey allowed Mike and Page to build a theme over Fish’s percussive beats, emerging a few minutes later in a heated groove-based jam that harkened back to 2003. The last kind of jam anyone would have expected to come out of the greatest hits-type show the band played on New Year’s Eve Eve, the “Tweezer” blew everyone away, both those inside the Garden, and the thousands watching on the live streams from their couches. A possible new direction for the band in 2011, the “MSG Tweezer” more than anything displays that the band still is possible of conjuring up demons and playing as if locked in Hades, something many thought was far behind them.

“Ghost” – New York City, NY – 12/31/2010

Right smack in the middle of the best set of the New Year’s run came a jam that seemed to sum up the overjoyed emotion throughout the Phish scene, thanks to the band’s rejuvenated playing in 2010. After nailing the rhythmic break back into the song – something that took the band over a year to accomplish – Trey directed the jam out from it’s funky theme into a brighter and more melodic territory, one that would result in the most impressive and soaring jam Trey has led in all of 3.0. Locking in behind his spirt and theme, Mike, Fish and Page simply provided a base, allowing for Trey to display his regained chops in a solo that he would have simply been unable to play six months ago. Words really can’t describe this jam. It’s gorgeous in it’s building melody, in the peaks it bursts through, and then bursts through again. An explosion of energy from the band and all watching matched the jams peak, as everyone shared in the celebration of how far the band had come in a year, let alone since they reunited in March 2009. If there was any question how high of a regard the band held this jam immediately after it’s conclusion, it came in the set-closing performance of “You Enjoy Myself,” the seminal Phish song, and one most figured would be held off until the following set or the New Years’ Day closer.

Honorable Shows

Hershey Park Stadium – Hershey, PA – 06/13/2010

Set II: Drowned>Tweezer -> Twist>Piper>Free, Wading In The Velvet Sea, You Enjoy Myself

Encore: Bold As Love

The final show of the first weekend of Phish 2010, everything came together at Hershey Park on a perfect summer day that was punctuated by an old-school show, and a flowing second set. Boasting a first set with no songs written after 1993, aside from the opener, Phish came out with a laid-back feel that matched the season and the half empty stadium. Gelling for the first entire show of the year, Hershey Park felt like the moment when the band finally adjusted to being on tour, settling back for the long haul. In the second set, Phish sought experimental groove-based jamming in “Drowned,” “Twist” and “Piper,” intermixed with rock in “Tweezer” and “Free,” and a late-set breather in “Wading In The Velvet Sea.” While at times disjointed because of Trey’s ADD-shifts from jam to new song, the show was the first complete show of the tour, topped off by a relentless, fire-breathing “You Enjoy Myself.”

# Multiple Michael Jackson-inspired teases throughout “2001” on the first anniversary of his death

A strong show that burst out of the gates with two bustouts in “Alumi -> Jimmy Page -> Alumni” and a rarity in “BBFCFM,” before easing into a more contemplative summer’s evening set, the second night of Camden was one of the few truly memorable shows from June mainly thanks to the powerful and flowing second set. Dominated by one of The Juke‘s jams of the year in Set II opener “Chalk Dust,” the show flowed through impressive playing by Trey in “Prince Caspian,” “Heavy Things” and “Alaska” before things turned experimental again with a segue into “2001.” A song that once meant a twenty minute journey to the outer realms of the galaxy, “2001” has been relegated to mere five minute late-set filler since 2003. However, on the one year anniversary of the death of the former King Of Pop, Phish turned the grooving jam into a journey through Wacko’s greatest hits. Teasing “Wanna Be Startin’ Something,” “Billy Jean,” and “Thriller,” the song had everyone at the show going crazy, while offering a classic and re-listenable dance party for all who weren’t in south Jersey for the show. The performance did wonders to rejuvenate “2001” for the remainder of the year, and each successive version was filled with an energy that had seemingly been lost. Segueing into a powerful and percussive take on “Light,” Phish used the performance as another opportunity to build the 3.0 anthem towards the glories it would realize later in the year. A dark-horse show in 2010, the second night at Camden saw Phish take far more risks than they did at most shows during the June run. The results would speak for themselves throughout the year.

The Greek Theatre – Berkeley, CA – 08/06/2010

Set II: Rock & Roll> Ghost>Mike’s Song>Simple>Backwards Down The Number Line, Show Of Life, Seven Below -> Weekapaug Groove, You Enjoy Myself

Encore: Good Times Bad Times

Highlighted by the jams in “Cities” and “Simple,” which I discussed in the Top Jams segment, the second night at The Greek was the awakening the band needed in order to have the kind of revolutionary tour they had in August. With a strong setlist, and a fully flowing second set, powered by a diverse “Mike’s Groove,” the show never let up, showing a confident side of Phish many wondered if still existed throughout the inconsistent June run. To point out how killer this show was, consider the fact that the “Rock & Roll” jam would be a highlight at any other show, but here was the third best jam. After opening the August run with a solid, albeit safe show, Phish chose to make a statement on the second night of their three-night stay at The Greek. While night three would eventually surpass this night in terms of playing and song choice, for at least 24 hours, the second night reigned supreme as THE show of the year. I still get chills whenever I hear those jams, for this show was the breaking point between the first half of 3.0 and everything that has resulted since.

The Top Ten Shows Of 2010

The Comcast Theatre – Hartford, CT – 06/18/2010

Set II: Halley’s Comet>Light -> Billy Breathes, Tweezer -> Theme From The Bottom>Harry Hood -> Wading In The Velvet Sea, Stealing Time From The Faulty Plan

Encore: Sleeping Monkey+>Tweezer Reprise>Tweezer Reprise++

^ “Summer Of ’89” Made it’s Phish debut

+ Played for a fan who brought a sign requesting it the previous night

++ Played again to make up for the lack of “Reprise” at Hershey

A week into what was becoming an incredibly inconsistent tour, Phish threw down a perfect summertime show that carried an excellent setlist, patient, full-band jamming, and the kind of playful gimmickry that has long been associated with some of the best Phish shows. Opening with the old school combo of “Fee>Rift,” “Wolfman’s Brother,” the entire Meadows knew that the second night in Hartford would not only surpass the uneven first night, but would also go down as one of the shows of the tour. Playing an old school first set, akin to Hershey, the band followed a similar formula in Set II, by focusing on improvisation. However, where Hershey featured lots of improv within a somewhat uneven set, the second set at Hartford flowed like a river through jams, breathers and rock gems. Kicking things off with fan-favorite “Halley’s Comet,” the band took their first excursion in an ambient-laced “Light” that segued beautifully into the increasingly rare ballad, “Billy Breathes.” After the short stop, Trey kicked the set into full gear with a “Tweezer” that has stood the test of the entire year as one of the most powerful jams the band has played. The next highlight came in a beautiful “Harry Hood,” one that worked to build on the success of Blossom’s version, foreshadowing the great “Hoods” that would be seen later in the year. A quick burst of adrenaline in set closing “Stealing Time From The Faulty Plan,” ended the show on a high note, with everyone expecting a quick encore before making the drive to SPAC. However, in classic Phish fashion, the band used the encore to put their stamp on an epic show, playing fan-requested “Sleeping Monkey,” before diving into the “Tweezer Reprise Reprise.” Always an energetic and killer closer, Trey kicked the energy way up by announcing that they were going to play the song again in honor of not playing it in Hershey. The crowd lost it, Trey fed off the energy, jumped off his speakers, got on his knees, and sent everyone into the night absolutely crazed with excitement. The next night in SPAC, the band appropriately opened and closed the show with “Tweezer Reprise,” thus carrying the energy over and infusing the June run with the kind of excitement it so desperately needed.

Just when it appeared Leg one of Phish’s 2010 summer tour was going to be full of underwhelming shows, with a few solid ones dispersed throughout for good measure, Phish threw down an epic classic on their second night at Merriweather Post Pavilion. Opening with the rare, rotation song, “Walfredo” for the first time since 2000, followed by the just as rare, Bob Marley cover, “Mellow Mood,” sent a message that the show would be a keeper. With a first set full of solid performances of some of the fanbase’s favorite tunes, everyone was hunky dory as the band emerged for what would become one of the top sets of the year. Opening with “Wilson,” before moving into “Meatstick,” it appeared gimmickry was at work, and with the return of the Japanese lyrics to the song, everyone could tell Phish was having fun on stage. Moving into an ambient jam out of “Meatstick’s” theme, it appeared as though the band might take the song for an improvisational journey for the first time since 1999. However, a choppy segue into the rare, but always welcome, “Saw It Again,” threw that off, setting the table for a powerfully flowing second set that put the rest of the tour to shame. Out of the end of “Saw It Again” came a torrid “Piper” that built on percussive themes over sixteen blazing minutes, reminding many of the epic jam that emerged from the song in the same venue twelve years prior. Segueing into “Ghost,” the band road the song’s theme for ten minutes before moving effortlessly into the one-time cover of The Stones’ “Jumpin’ Jack Flash.” A song that had been teased many times in “Ghost” jams through the years, it was a fitting cover, coming some nine months after the band played Exile On Main Street in full the previous Halloween. Clearly overtaken by the energy of their surprise debut, the band built into a thrilling jam that moved back into the climactic peak of “Saw It Again,” before landing in the fan favorite classic, “Contact.” Closing the set out properly with a “Saw It Again” – infused “You Enjoy Myself,” the show ended on a high note with the seminal song toying with the thematic gimmick of the show. When they encored with “Fire,” a song reserved for shows worthy of it’s name, it was all but a given that this would go down as The Show Of The First Leg.

The Greek Theatre – Berkeley, CA – 08/07/2010

Set II: Wilson>Light -> Twenty Years Later>Harry Hood -> Theme From The Bottom, 2001>Suzy Greenberg>Slave To The Traffic Light

Encore: The Lizards, First Tube

Building on the experimental successes of the second night at The Greek, Phish came out firing on all cylinders on 07 August 2010, playing what many believe was the jam, and set of the entire year. Exactly a year after playing one of their best shows of 2009, the band played a balanced affair, featuring a flowing, energized and emotive first set and a greatest hits, patient second set that flowed perfectly from note one through its conclusion. The peak of the second set came in five specific places – the nine minute ambient jam that emerged out of “Light,” and was documented earlier in The Top Ten Jams of 2010, the beautiful build within the “Harry Hood” jam that featured some of Trey’s most inspired playing of the year, the bouncing, groove-heavy “2001” that echoed the Michael Jackson-themed version from Camden earlier in the summer, the jam in “Suzy Greenberg” that built out of the frenetic energy of the set and extended the song through ten dance-heavy minutes, harkening back to the powerful “Suzy” jams from the early part of the decade, and the set-closing “Slave To The Traffic Light” that saw Trey use the emotive playing in “Harry Hood” to create a gorgeous peak in the classic Phish number. The kind of show that would be a classic in any era, night three at The Greek immediately reestablished the line between a good show and an epic show in Phish 3.0

Alpine Valley Music Theatre – East Troy, WI – 08/14/2010

Set II: The Sloth, Down With Disease -> What’s The Use?>Scent Of A Mule, Mike’s Song>Dirt>Sneakin’ Sally Thru The Alley> Weekapaug Groove, Bug

Encore: Quinn The Eskimo

By the time Phish reached the midwestern Mecca of Alpine Valley in mid-August, they were a well-oiled-machine, one ready to blow the lid off the 40,000-person strong hillside amphitheater. Tearing out of the gates with a six-song opening segment that featured rarities – “Tube,” “Fuck Your Face” – the idyllic summertime composition – “Reba” – and high octane classics – “Suzy Greenberg,” “Funky Bitch” – by the time the band finally stepped back to figure out their next song to play, a good forty minutes had already passed by and the crowd was completely enthralled. It was really no wonder that the band basically had to be forced into setbreak after a fourteen song, nearly two hour first set. Yet, for as rocking as the first set was, it was the second set of the first night at Alpine that solidified the show as one of the peak performances of 2010. Opening with the rare, “The Sloth,” sent a wave of darkness spiraling through the venue, topped only when Mike began sending out the distorted waves that introduce “Down With Disease.” A song that has appeared in every Phish weekend at Alpine since 2003, there was really no question that the song would turn in the jam of the night. As described in the Top Ten Jams Of 2010 segment, the jam featured all four members working like a single unit, pushing the jam further and further into the ethos before finally caving into the heady bliss of “What’s The Use?” Taking a breather with “Scent Of A Mule,” Trey showed off his much improved chops, destroying the Mule dule, resulting in a resounding applause throughout the venue. At this point in the show, the band could have really done anything, and few would have groaned had they signaled the start of a ballad, yet when they dropped “Mike’s Song,” the place erupted, and Phish responded with one of the most inspired “Mike’s Song’s” in years. Filling the “Groove” with the contemplative “Dirt,” and a funk-throwdown in “Sneakin’ Sally,” the band capped it off with a fast-paced, collective jam in “Weekapaug Groove,” before closing the set with an epic and soaring guitar solo out of “Bug.” Choosing the Dead’s favorite cover, “Quinn The Eskimo” – a song that had been busted out after eleven years in Telluride, CO just a week prior – to encore at their favorite venue was a warm message to the fans that the show was a special one for everyone involved. Small wonder they decided to release it DVD just four months later.

On the second to last show of Phish’s triumphant August run, the band threw down a fully flowing show, highlighted by great song selection and excellent jamming throughout. Along the same lines as night three at The Greek and night one at Alpine, Phish clicked from the moment they walked on stage, never once letting up. Choosing to open the show with “Fluffhead” for the first time since it reintroduced the fanbase to Phish in back in March 2009, the band sent a wave of energy through the venue, symbolically stating they understood the significance of their vastly improved playing throughout the run. Tearing through a high-energy first set, the band hit peaks in a thick “Cities” jam, a soaring late-set “Reba,” and a funky, bubbling “Wolfman’s Brother.” When they emerged for the second set, Phish seamlessly blended humor – “Lengthwise -> Maze” with a jam-packed “Mike’s Groove” centered around one of the best jams of the year in “Backwards Down The Number Line.” Throwing a curveball with a late set “Rock & Roll” – a song normally reserved for the Set II opener slot – the band locked into the theme of the song, building a powerful jam out of it, before segueing right into “Weekapaug Groove.” A show that put on high display the accomplishments of August, while still building towards the eventual peak of the year in the Fall, Jones Beach night one was one more memorable outing for Phish in the inspiring month of August.

North Charleston Coliseum – Charleston, SC – 10/16/2010

Set II: Crosseyed & Painless>Dirt>Fluffhead>2001>Tweezer>Show Of Life, You Enjoy Myself

Encore: I Been Around, Quinn The Eskimo>Tweezer Reprise

After playing four shows on their Fall Tour, it was clear something was missing. No question the shows were solid, but the magic the band had conjured up through innovative and creative improv in August was nowhere to be found throughout the Colorado stand and the first night in Charleston. All this changed on a Saturday night in South Carolina, and when the band left the stage that night, they were a completely changed organism, never once looking back as they absolutely demolished the remainder of the tour. Kicking things off with the new school/old school combo of “Kill Devil Falls> Guelah Papyrus,” the band came out with an energy and tightness that had yet to be seen thus far. By the time they had reached the ethereal jam of “The Curtain With” it was clear the show was going to be a memorable one, one that would shape the remainder of the tour. Throwing out a mid-set surprise in the form of “Sand,” the show carried the “anything goes” vibe that normally accompanies tour highlights. Building an atypical jam, Trey backed away from his seedy licks, allowing the jam to be led by Mike and Page, forming a more melodically infused jam where normally a tripped-out electro-jam would unwind. Filling out the first set with well-placed rarities in “Sneakin’ Sally,” “Pebbles & Marbles,” and “Uncle Pen,” the band closed things out with a nasty combo of “Cavern -> David Bowie,” the later which built on the fantastic version in Colorado, blisteringly closing the set out like it used do on a regular basis. The second set however was on a completely different level. Flowing from note one, Phish blew the lid off the Coliseum with a raging cover of “Crosseyed & Painless,” before settling into a classic run of “Fluffhead>2001>Tweezer.” The latter two songs provided the musical highlight of the evening as the entire band engaged in minimalist playing, toying with varying themes and building single-minded jams that fused both the creativity of the August run, with the energy developing in the Fall. Closing the set with the appropriate, first “You Enjoy Myself” of the tour, Phish left the stage a more confident band than they had been when they first took it, playing what is still regarded as one of the best shows of the year. Encoring with the playful, reborn rarity, “Quinn The Eskimo,” only further emphasized the band’s renewed spirit. Fall Tour would never be the same.

Utica Memorial Auditorium – Utica, NY – 10/20/2010

Set I: My Soul, Stealing Time From The Faulty Plan, Vultures, Wolfman’s Brother# -> Cities>Guyute, David Bowie##, Wilson###>McGrupp & The Watchful Horsemasters>Saw It Again -> Run Like An Antelope

Set II: Drowned -> Sand -> Theme From The Bottom>Axilla I>Birds Of A Feather, Tela, Split Open & Melt -> Have Mercy -> Piper#### -> Split Open & Melt>Slave To The Traffic Light

Encore: Good Times Bad Times

# “Wolfman’s Brother” contained a “Streets Of Cairo” tease

## “David Bowie” contained multiple “Guyute” and “Wilson” teases

### “Wilson” contained a “Guyute” solo

#### “Piper” contained a “Birds Of A Feather” Jam

A night after playing a breakthrough set in Augusta, ME, one that fused gimmicks of lore – “Fuck Your Mike’s Groove” with the jam of the tour – and possibly the year – in “Light,” Phish came out with straight fire from the start crafting a humorous, fully-flowing, jam-packed show that has gone down as one of the heavily debated shows of the year. Boasting two complete sets, each with massive amounts of energy, musical prowess and gimmickry from the band, Phish harnessed the energy of a random Wednesday-night show in northern New York in the same way they had made a career out of for so long. Packing heat with a “My Soul,” “Stealing Time,” “Vultures” opening frame, the show got going in earnest with a funky stroll through the jam section of “Wolfman’s Brother,” which featured a distinct “Streets Of Cairo” tease from Trey before effortlessly melting into “Cities.” Answering the calls for the band to play “Guyute,” most notably from a masked man in the front row, the band tore through the composed tail of the ugly pig before getting down right dark and sinister in a fade into “David Bowie.” Looping the thematic solo from “Guyute” into the hazy “Bowie” hi-hat intro, Phish extended the intro like they hadn’t in years, creating a twisted, psychedelic wall of sound, before busting into the song proper. Pulsing with energy and excitement, Trey and Mike latched onto the similarities of “Bowie’s” breakdown to that of the intro of another classic, “Wilson.” Before anyone knew what was happening, the arena was chanting “Wilson,” in the middle of “Bowie,” giving all listening the trippy uncertainty of whether or not we were existing in 2010 or 1995. When they brought the jam back into “Bowie,” the band gave the song a fitting tribute, patiently building the theme before annihilating the peak. Fittingly, as soon as “Bowie” ended, Trey signaled the start of “Wilson,” carrying over the set’s theme, while stirring the crowd into a frenzy. Infusing the thematic solo of “Guyute” into the middle of “Wilson,” Trey brought to life the kind of distorted Phish humor that has long been missing from their shows. Fading into the old-school rarity, “McGrupp & The Watchful Horsemasters,” the band gave the nod of approval to the show, with a song that seems to only appear in the best shows. Yet for as entertaining as the middle segment of the set was, the final two numbers may have surpassed it all in terms of musical prowess and adventurousness. Playing “Saw It Again” for the first time since the famed Merriweather Post Pavilion show, the band extended the song’s demented ending into the ether before segueing into “Run Like An Antelope.” A song that had certainly lost some of its former fire in 3.0, Phish made sure to expand this “Antelope” to lengths and musical dimensions many had forgotten it could go. Reminiscent of the experimentation on “Reba” in the previous night’s encore, the “Antelope” that closed the first set was the reassuring sign that Phish was completely on top of their game, playing with an energy and spirit many had thought was a thing of the past. After playing such a powerful first set, the band could have very well thrown down a dud in Set II, and no one would have thought anything of it. However, while the second set doesn’t live up to the first set’s full on energy and musical precision, it was certainly a gem in its own right. Opening with the back-to-back jam combo of “Drowned -> Sand,” the band fused their collective jamming for close to twenty minutes before moving into more energized/rock territory with “Theme From The Bottom>Axilla I>Birds Of A Feather.” At a point when the band could have played the expected “Waste” or “Prince Caspian,” they opted for a breather in the old school “Tela,” a song that just breathes of youthful, idealistic Phish, and can only make one nostalgic for the amphitheaters of Summer Tour. After the break, the band kicked into one of the Top Ten Jams of the year in “Split Open & Melt -> Have Mercy -> Piper -> Split Open & Melt,” before closing things out with a beautiful, peaking “Slave To The Traffic Light.” A full show, front-to-back, Utica was the kind of special show that occurs once or twice a year, generally on a random night in a random town when no one is even considering a good show being thrown down. A powerful statement that reminded all that Phish certainly still has it, Utica 2010 will long live in Phish lore whenever people talk about “had to be there” moments.

Verizon Wireless Arena – Manchester, NH – 10/26/2010

Set I: After Midnight*, The Sloth, Alumni Blues -> Letter To Jimmy Page -> Alumni Blues, Mellow Mood, Access Me, Llama, All Of These Dreams, The Curtain With, Scent Of A Mule, A Song I Heard The Ocean Sing, It’s Ice>Walls Of The Cave

For close to thirty years, Phish has made a career of playing their best at the most unexpected times, thus continuously staying under the radar while at the same time keeping their biggest fans constantly on their toes. Playing tour highlights in random towns in the middle of the week, or many times, just prior to a heavily anticipated show, Phish has long required that fans show up to each show, knowing full well that the one show you choose to skip could be the one people discuss for years. Thus when the setlist started rolling across the internet on a Tuesday night in late-October – Phish playing in tiny Manchester, NH, three nights away from their Halloween blowout in Atlantic City, NJ – it was fitting that their first set contained few songs played prior that tour. Opening with the Clapton cover, “After Midnight” for the first time since their all-night NYE Millennium blowout in Big Cypress, FL, everyone knew Manchester was going to be one of those shows. Tearing through rarities – “The Sloth,” “Alumni Blues -> Letter To Jimmy Page -> Alumni Blues,” “Mellow Mood,” “Llama,” “A Song I Heard The Ocean Sing” – while offering incredible musical adventurousness in a beautiful “The Curtain With” and a raging “Walls Of The Cave,” the first set was the kind that blew everyone away, and had all buzzing about what the second set might hold. Coming out on a mission, Phish opened with one of the fiercest “Possum’s” in recent memory before unleashing another stand-out “Light” in a tour full of them. Harnessing a percussive theme that was reminiscent of Augusta’s masterful version, while still venturing out into it’s own unique realm, the band crafted yet another improvisational memory for the tour. Opting to use the remainder of the set for another expansive “Mike’s Groove,” the band took an opportunity by way of the always welcome “Makisupa Policeman” to pay tribute to the recently deceased reggae legend, Gregory Isaacs. Segueing seamlessly into his classic “Night Nurse,” the band interwove a musical highlight with a telling sign of gratitude. The final musical highlight of the night came in the surprise late-set “Ghost” which built out of it’s seedy origins into a powerful, melodic jam that brought the bright and shiny “The Mango Song” out from hiding, before it too segued into “Weekapaug Groove.” A song that has been a constant gem since Phish’s 2009 return, the band took “Weekapaug” on a wild ride in Manchester, evolving it into a jam on “Don’t You Hear Me Knockin'” that featured teases of “Night Nurse” and “Ghost,” before speeding the jam up to an absurd pace, segueing it into a full-on reprise of “Llama.” Capping off a night of rarities, jams and all-out Phish-fun, Manchester was the last proper show of Fall Tour, and one that capped off an incredibly powerful three weeks on the road for the band. On to their three-night Halloween party in Atlantic City, Phish was cruising on the kind of peak they hadn’t been on in years. All was right in the world.

Boardwalk Hall – Atlantic City, NJ – 10/30/2010

Set II: Tube>Possum#&>Tweezer# -> Heartbreaker^ -> Tweezer -> Ramble On** -> What Is And What Should Never Be^>Tweezer -> Stairway To Heaven^$, Halley’s Comet -> 2001 -> David Bowie, Show Of Life>Backwards Down The Number Line>Good Times Bad Times

^ Debut of “Heartbreaker,” “What Is And What Should Never Be” and “Stairway To Heaven” – Led Zeppelin

& “Possum” contained a “Sneakin’ Sally” tease

$ After “Stairway To Heaven” Trey say’s “Happy Halloween! See you all next year.”

The night before THE night. Similar to Phish’s reputation for throwing down huge shows in the middle of nowhere, they’ve also garnered the reputation of a band that will play the best show, the night before a holiday/highly anticipated show. From 12/30/1993 to 12/29/1995, 08/14/1996 to 12/30/1997, 12/01/2003 to 12/30/2009, time and time again, Phish will blow fans away with a massive show the night before they were supposed to. In keeping in line with their prankster past, this has become something of a game for fans, always left in the dark as to what nights will be THE show until it happens. When Phish took the stage on 10/30/2010, their second night of a three-night stand at Atlantic City’s Boardwalk Hall, the feeling of a big show resonated throughout the entire fanbase, and boy did the band come through. Tearing through an opening four-song segment of “Kill Devil Falls>Cavern>Foam, Guelah Papyrus,” the crowd rang with such approval, responding with a massive – not to mention unheard of – glowstick war in the middle of “Guelah.” Sensing their opportunity, with the crowd in the palm of their hand, Phish tore into a rocking mid-set “Chalk Dust Torture” that segued fluidly in-and-out of Led Zeppelin’s “Whole Lotta Love.” With little fanfare surrounding the upcoming Halloween cover album, fans had been left to their own imaginations leading up to Halloween, with many surmising that Led Zeppelin’s Physical Graffiti was the ideal choice for the band this year. A cover of “The Rover” that the band destroyed from June only seemed to further confirm this. Yet before the crowd or the fanbase could properly react, Phish launched into the rare, Fishman-penned “Ha Ha Ha,” all but promising there would be no Zeppelin the following night. The end of the set featured more stand-out performances of “Walk Away,” a nasty segue of “Wolfman’s Brother -> Undermind,” yet another soaring, Type I “Bathtub Gin,” and a contemplative “Squirming Coil” to send the crowd into setbreak musing over the Rock fest that just went down. Yet in perfect Phish fashion, the band took the successes of their first set and crafted a powerful monstrosity that only furthered their gag on the crowd, while continuing to redefine their relationship with their fanbase. Coming out swinging with a “Tube>Possum>Tweezer” opening segment, it was clear the band was on for another legendary set. However, as they moved out of the song structure of “Tweezer,” and into the jam, the band latched onto the theme of “Whole Lotta Love” yet again, a theme which would take them on a trek through some of Led Zeppelin’s biggest songs, all within the confines of “Tweezer.” In a fifteen minute rock & roll sandwich, the band played “Heartbreaker,” “Ramble On,” “What Is And What Should Never Be,” and “Stairway To Heaven,” all but disposing any hope that they’d play Physical Graffiti the next night, yet giving their fans something they’d always wanted. While clearly unrehearsed, somewhat sloppy, and more humorous than anything, the “Tweezeppelin” sandwich was yet another creative way for the band to not only toy with their audience, but also give them a performance many had been begging for for years. Even more, Phish was now one of the few rock bands to break the code by playing both “Freebird” and “Stairway,” yet the ways in which they’ve placed them in their shows – “Freebird” is always sung accapella – says tons about their creativity and playfulness. Finishing off the set with a spacey “2001” that segued into yet another blistering “David Bowie,” the show was capped off by the eternally classic encore: “Sleeping Monkey>Tweezer Reprise.” While there were far more impressive musical outings throughout 2010, 10/30/2010 was the kind of show that put on high display the humor of the band, and the playful spirit they continue to share with their fanbase.

While technically played in 2011, Phish’s first ever New Year’s Day show will always be viewed as a culmination of the 2010 sound. The fact that it was played on the first day of 2011 will only display forward continuity and progress when looked back at, midway through their summer tour. Featuring a killer setlist with literally no breather’s or throwaway songs, Phish came out to play on New Year’s Day, their fifth show in six days, and their last before an almost certain six month break in touring. Anyone wondering if this would shape up to be the dud of the tour was hushed when during the bluesy opener “My Soul,” Trey all but refused Page’s reentry to the song, opting to instead extend his powerful solo a minute longer. From there the band tore through classics – “Runaway Jim>Foam,” “The Divided Sky” – and rarities – “Tube,” “Guelah Papyrus,” “Round Room” – before closing the strong set off with blistering renditions of “Gotta Jibboo,” “Reba” – probably the best pure version of the year – and the revived 2.0 anthem, “Walls Of The Cave.” Fusing all the right elements for a classic show, Phish emerged from setbreak, ready to unleash yet another perfectly fluid second set, one that rivaled the mastery of 10/16/2010 and 08/07/2010. Opening with the “Crosseyed & Painless” – a song that until a year ago was generally a once a year affair, the song has somewhat slipped into the band’s rotation, producing strong and raging jams each time around – the band made it known right away that they were ready to tear the Garden a new one. Segueing into “Twist,” the band built on the rhythmic grooves that had dominated the year, crafting a dance-heavy jam that morphed into the arena rock of “Simple.” A song that offered us one of the top ten jams of 2010 back in August, this version, while not nearly as dynamic and expansive, grew effortlessly from the song’s theme into a bubbly and melodic jam that somehow led right into the chunky grooves of “Sneakin’ Sally.” Tossing the now-common vocal jam onto the end of the lyrical segment of the song, Phish used sparse and funky beats alongside a strutting rock melody to extend the jam before they found themselves in the cool reggae of “Makisupa Policeman.” A version reminiscent of the airy space of Champaign, IL’s 11/19/1997 version, Trey offered the comedy line of the night in: “Went back home last night after doing the New Year’s stunt / I laid back on my couch and rolled myself a blunt,” to great approval from the audience and Page. Clearly relaxed by this point in the show, Trey allowed the jam to be reduced to nothing before building a placid wall of ambient noise and sound. The musical highlight of the set and the show, the band rode the ambient wave perfectly into the hi-hat intro of “David Bowie,” capping off the set with one final blistering version for the calendar year. For the encore, the band celebrated the return of the megaphone to “Fee,” something that had been unveiled over the summer in Deer Creek for the first time since 1997, and used throughout the Fall. Tying in the playfulness of the year, the song was the perfect lead-in for the all-out arena rock of “Frankenstein” complete with Page on the keytar. A proper conclusion to such a massive year of growth, development, creativity and newness within the Phish community, 01/01/2011 bridged the gap between the year that was, and all that is to come for Phish in 2011. A fitting conclusion for the year, and this list. Can’t wait to see what 2011 brings for Phish!

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Thanks to Phish.Net (www.phish.net) and The Mockingbird Foundation (www.mbird.org) for organizational assistance and sourcing of setlists!

In the world of Phish, there are certain months held in a higher regard than all others. Months where the band seemed to tap into an intangible energy bigger than themselves, reach and sustain mediums of connection, and where, simply put, everything clicked. During these months, Phish wasn’t so much playing their music as they were existing within it. Featuring lengthy runs of wildly engaging shows, setlists that read as though they were plucked out of a fan’s notebook, and jams where Phish engaged in a lengthy, unending and fully flowing conversation. These months have come to define the style and sound of the multiple eras of Phish.

April 1992’s west coast tour is probably the first example of a sound being defined within a month, when the band allowed the wide open landscape and desolate valley’s to influence their developing musical experimentation, while highlighting their zany spirit, unyielding energy and psychedelically twisted humor. The breakout month of August 1993’s couldn’t have happened without the band’s mastery the “Hey Hole” jamming technique. 1994 featured dual gems in June and November, the former of which was an absolute apex of the fire and energy of the youthful Phish, and may represent the purest example of the sound Phish was trying to attain throughout their first eleven years of existence, and the latter which displayed a band that had summited the peak of their goals, and instead of plateauing, experimented with their sound, and, for the first time since the mid-80’s, explored what was possible beyond the confines of the structures they’d built and mastered. In this same regard, 1995 gave us two distinct months of brilliance: June which built upon the experimentations of the previous November, and then took the jams to a realm of no-man’s-land that they’ve only been brave enough to explore a handful of times since, and December, which we’ll get to later.

Since 1995, it’s been harder for Phish to produce this kind of consistent brilliance for a variety of reasons. They’ve toured and practiced less which means they’ve had less time to hone in on a new style and develop it, their tours have been shorter, meaning they’ve had brilliant weeks and brilliant shows rather than months, and at times their overall motivation and dedication has come into question. Even still, 1997 gave us the full realization of the funk/minimalist style they’d been searching for since 1995 in the Europe run during June, and the entire fall tour featured a band playing with as little effort yet as much intuitive communication as we’ve ever heard from them. December 1999 was an epiphany in the late 90’s/2.0 era, as the band fused beat-driven jams with minimalism, and combined it with a contagious energy that engulfed the entire fanbase as their millennium shows at Big Cypress approached. Add to it the right amount of darkness fueled by their growing desire to take a break, drug addictions that had taken ahold of two of their members, and a self consciousness that had begun to creep into their songwriting probably due to the previous two factors, and it’s one of the more puzzling, yet intriguing periods of success in their career.

The 3.0 era has produced two more months of unheralded prowess. October 2010 was the first month where Phish seemed to fully shake off the rust of a five year break, and embrace what it meant to be Phish again. Particularly from the second night in Charleston, SC on, the combination of small East Coast towns, intimate venues and a resulting youthful energy, the tour was set ablaze with shows chock full of segues, teases, rarities, and some of the most concise, yet expansive jams since the early 90’s. Finally, June 2012 may take the crown as the best month of Phish since December 1997. With a stated goal of playing 200 different songs throughout their summer tour, Phish not only infused each show with fresh songs and setlists, but with some of the most diverse jamming we’ve ever heard out of them.

And yet here’s the thing, as great as all of the above months were in Phish’s near-thirty year history, December 1995 still ranks as the best month of them all, without question. Coming on the heels of 186 shows in 21 months, with essentially three albums worth of new material, December 1995 is the most polished, confident, and driven Phish there’s ever been. Totally focused on improving with each show, Phish still retained the youthful enthusiasm that had pulled them from obscurity as a college bar band, to theaters and open-air amphitheaters, to kings of the arena rock circuit in just six short years. With an unyielding conviction in the power of their locked-in, total connection concerts, a picture-perfect memory of their complex songs, and a refined approach to the vast exploratory jams of the last year, every show carried the potential to be the best show of the tour and year. As a result, there are no less than ten shows in the month that would find themselves ranked quite high in any list of the best shows the band has ever played.

Turn on any bootleg from December 1995 and the first thing you’ll notice is the torrid energy bursting from your speakers. Featuring 17 shows (including NYE) in their comfort zone of the Northeast, the crowds that came out to their shows were some of the most dedicated, diehard, and loyal fans that Phish has ever had. These were the fans that had seen Phish when they were the quirky yet irrelevant bar band in the 80’s. These were the fans that had traveled throughout New York State, up and down the Atlantic coast, in small towns throughout Pennsylvania, New Jersey, Connecticut, Massachusetts and Vermont, all in effort to support the band and spread word of their greatness. These were the fans who’d watched Phish take the seemingly hopeless risk of driving 2,000 miles to Telluride, CO for a month long stand in a boycotted bar, and then become a national sensation within four short years. These were the fans who packed into Boston’s Exhibition Hall at the World Trade Center to witness their 1990 New Year’s Eve show, only to now await the band’s headlining NYE performance at the most famous arena in the world: Madison Square Garden. These were the fans who’d been there from the beginning, and now were being treated to an entire month of Phish, a Phish that had reached their apex and was using their homecoming tour to throw a month long party.

————

Just for a minute step back and consider the multitude of events that had to go right to create a scenario for a month like December 1995 to occur for Phish, or for any band for that matter. First and foremost, Phish had to form, which means its four members – all from a variety of parts of the overpopulated Northeastern United States – had to meet each other, and see enough potential in their relationships to spend the time playing music together. Then they had to want to continue playing music together. Not want in the way of casually enjoying hanging out with someone, but fully believe that their other three counterparts were talented enough, passionate enough and driven enough to continue working – keyword: working – toward some obscure, intangible, somewhat undefinable goal. No matter what direction they would decide to take their music, they had to keep working at it to move forward. Working at it when all looked hopeless and they had graduated from college – burdened with the added pressures of adulthood and careers, mortgages and marriage, blah blah blah – and were still overjoyed when just 2000 people came out to see them play. One Time. Working at it when their hard work began to pay off, when they began to make money, and began to develop some sense of a national following, rather than allow the success to get to their heads. Working at it even when they surpassed probably their own wildest imaginations of what they could be, in April 1992, in August 1993 and again in June 1994. Working at it day in and day out in the way an elite basketball team works on defensive schemes long after practice was scheduled to end. Working at a craft in a focused and driven manner all in the name of creating the music that played in their heads in a live, improvisational setting.

What’s more is that the decisions they made along the way, in the years and months leading up to December 1995, had to match both their practical needs as a band, and push them further along the path they’d traversed. Decisions such as Trey’s acceptance of Page into Phish in 1985, when, after stating that Phish was a “two-guitar band,” he realized that Page’s keys offered a different dynamic to his melodies, and would provide him with a partner to create multi-layered textures, intertwined conversation pieces, and rousing, anthemic jams over the rock-hard rhythms produced by Mike and Fish. Trey’s decision to halt his devotion to, and covering of, The Grateful Dead in 1986, a move that forced Phish to focus more on crafting their own sound. Their five performances of their mini-opus, Gamehendge in 1988, 1991, 1993 and 1994, along with their never-ending gags centered around songs that Fishman despised, and their insistence on including their fans as much as possible in their New Years and Halloween extravaganzas created a sense of unity, of brotherhood, an unbreakable bond between them and their fans.

Musically, their expansive sounds and jams of 1987 and 1988 gave way to a refined approach in 1989 through 1992 wherein which they wrote three albums worth of music – and then some – and focused on tightening their live sound. Demanding perfect communication, skillful agility, airtight segues, relentless energy, a heaping dose of tongue-in-cheek humor, and stop-on-a-dime precision, Phish transformed their sound to that of a well-oiled machine, crafting shows full of musical peaks, professional acumen and nonsensical gags. By 1992 one was more than guaranteed to be blown away walking out of a Phish show. A far more engaging experience than the lonerism spirit of the grunge scene, far less expensive and far more technically impressive than the big name rock and pop groups that catered to the masses. Phish wore their irrelevancy and isolation at the time like a badge of honor. And by the winter of 1993, their dedication paid off in full, as can be heard most notably in their February 20th show at the Roxy Theatre in Atlanta, GA. Taking a leap forward in the confines of a single show in a way they hadn’t ever before, Phish fused the tight and explosive sound they’d crafted over the previous four years with the exploratory origins they’d been founded in. Wielding a set of segues, teases and jams in and out of “Tweezer” and “Mike’s Groove,” a porthole opened. Phish would never be the same.

From there the band would only continue to build upon their sound in an obsessive search to craft music that displayed the band as not four individuals playing music, but as a unified force playing as one. It is this goal which could only be realized after shedding their improvisation roots in 1989 and building themselves back up as a tight and edgy rock band, but wouldn’t be actualized in part until December 1995, and then in full in 1997. August 1993 gave the band their first headlining summer tour of the nation’s concrete, open air amphitheaters which in turn gave them the space to stretch their music in ways they hadn’t before. Moreover, their fanbase had more or less been solidified by now, allowing them the comfort and confidence that they’d have a passionate and loyal crowd awaiting their every show. From here they sought out new fans, infusing their shows with an array of popular covers, exploring the endless musical diversions their songs could traverse, and including everyone in the poignant and intriguing myths they’d crafted in their college years – from Col. Forbin climbing up the mountain to save Gamehendge, to Poster Nutbag and Jimmy’s unending battles against Harpua. Their shows were transformed from simply high-energy workouts to events that meant something, where anything-could-and-would-go. A single song that had been played with a similar enthusiasm for five years, say, “Bathtub Gin,” became, on nights like August 13th 1993, an unending journey into the unknown, opening up vast cavernous vaults of potential for exploration and mind-bending music.

And yet, they still kept growing. From the wide-eyed musical successes of 1993 came the renaissance of 1994. After taking the Fall and Winter of 1993 off – spare the historic NYE run that also served as a veritable THANK YOU!!! to the entire Northeast – to record Hoist, they booked themselves 123 shows, criss-crossing the country not once, not twice, but three separate times in effort to spread their collective energy, planned a Halloween show in which they would don a musical costume, crafted the blueprint for their eventual multi-show festivals, built upon the exploratory journeys unleashed the previous summer, played their first of now 27 shows in the world’s most famous arena, and ultimately compiled a year that would be considered far and away the best of any other band’s career.

One of the most important decisions the band made in 1994 was not a musical or stylistic one, instead it was a logistical decision that would help to alter the course of their music and career forever. In the previous ten years of their existence, they’d always used the Fall tour as a homecoming tour of sorts. After spending the majority of the year on the road spreading their sound, their tours would always wrap back to the confines of the Northeast – the 1992 Fall tour is the lone black sheep in this category, it concluded in Montreal, not exactly their home turf, but still, close enough to the Vermont border – a supercharged homecoming celebration of sorts. However, in 1994, following their monumental Halloween show in Glens Falls, NY Phish began a journey westward that would conclude over a month later in Santa Monica, CA, and wouldn’t bring them back for a show on the east coast until December 28th. The decision was reminiscent of their college-era practice sessions where they would lock themselves in a room for hours, jamming non-stop in effort to understand the musical tendencies of each other and the patterns they could create. By separating themselves from their home base, and traversing into the wide, expansive West, they released themselves from all expectations, and dove headfirst into a musical experiment they’d been training for since 1989. Using the open-ended structures written into some of their best known songs – most notably, “David Bowie” and “Tweezer” – they allowed themselves to be taken over by the possibilities that lay within vast portholes of their songs. A decision made, consciously or not when they wrote their earliest classics, pockets of space were left open within their complex structures that years later – after the band had reached a point of mastery within their songs – were suddenly thrust open and used to dive deeper into the unknown than they may have thought possible. The tour was a revelation into how far they could take their music, how lost they could get within the medium of a live concert, how far away from themselves, their own personal wants and needs, their own self consciousness they could go.

When they returned to the stage in June of 1995, Phish built upon this exploratory revolution to their sound, infusing the entire tour with an array of jams that stretched out further, wider, into deeper and darker realms than they ever had before, all in the name of a linear musical communication. Entire sets were sometimes engulfed in this singular goal, nearly every show contains a massive 25+ minute foray into the unknown, and for perhaps the first time ever, Phish played without a sense of care of anyone watching them. Most likely turning away a number of fans, the band believed that the decision to take such extreme risks each night would pay off in the future. Putting everything on the line every single night, Phish bared their souls to their audience in ways they never had before. No longer locked in a room together, no longer in search of musical perfection, no longer worried about sustaining themselves financially through their creativity, no longer worried about building a national following, Phish was completely free to use their shows as an opportunity to dive head first into the unknown, fuck all the consequences. In the end the tour is one of the most divisive and controversial in their history. Some fans can’t stand the sound of the band 30-odd minutes into a “Tweezer”. Some can’t grasp the fact that their second sets started featuring less songs than fingers on a hand. Some fans wither in terror at the self-indulgent experiments, much of which produced music that many consider to be unlistenable. Yet others view it in reverence, the one moment where Phish was clearly at the top of their game in terms of musical chops, and blended it with a divine and twisted hurdle into the unknown. Whatever way you look at it, the decision to continue and expand upon the explorations of 1994 had a profound impact on the history of the band. This was Phish deconstructing themselves once again in front of our eyes. Yet where 1989’s house cleaning was conducted in effort to sharpen their catalogue and inject a massive supplement of energy into their shows, the purpose of June 1995 was to move past the music they’d written, and try to simply understand music from a basic level. The goal in all of this was the aforementioned search for a style and a sound that allowed Phish to play as a unified instrument of linear communication.

Tragically, the death of one of Phish’s greatest influences, and one of the most significant figures in the music they’d dedicated more than ten years to – Jerry Garcia – did more to bring Phish into the mainstream than anything they’d done themselves throughout their career. Suddenly there was a surge of fans who’d never cared much about Phish’s punky, aggressive and ironic approach to music that jumped on tour in search of the next party bus. With this onslaught came a need for larger venues, and their shows began to take on a larger than life feel. The fall tour that followed essentially featured two Phish’s. The first, in their October journey from California to Chicago, found them toning down the experimental diversions of the summer in favor of a sound that blended of the torrential energy of their ’89 – Summer ’94 shows, with a dose of psychedelia that overtook Summer 1995. They became a band in search of something once again, reaching it inconsistently, yet ultimately hinting at the brilliance that was just around the corner. In many of the same ways that Fall 1996 would hint at the organic cow funk that would fully bloom in 1997, October 1995 gave glimpses of how powerful Phish would be once they got rolling. Taking a ten-day break after their explosive Halloween show in which they flawlessly played The Who’s Quadrophenia was a key move to rest and prepare for the two month trek ahead of them.

Where Fall 1994 was a journey of westward expansion, Fall 1995 was a marathon from Atlanta to Lake Placid. Five weeks, 15 States, 29 shows, all concluding with a 13 show run through their New England homebase. It was the culmination of 13 years of practice, travel, more practice, unending energy, drive, commitment, friendship, trials, heartaches, weddings, shows in front of no one, more hungover drives across two states in one day than anyone wanted to remember, more practice, shitty food, a singular belief that what you were doing was right, loans, more practice, all leading up to a month in which the band played the best music they’ve ever played at the highest level they’d been at to that point, in front of the people who’d been there from the start: their friends, family and fans who’d given everything to hear the intoxicating, uplifting and uncompromising music of Phish.

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Tearing through the southeast and up the Atlantic coast throughout November, every show, every week Phish was on the road seemed better than the last. To claim that December is superior than November is somewhat unfair when discussing the Fall 1995 tour. November is the overlooked calm before the storm. By all accounts, if the tour had ended on November 30th 1995 in Dayton, OH, it would have been heralded as a unanimous success. From the torrential energy of 11/11/1995, to Orlando’s second set dive into the unknown in “Stash” on November 14th – a jam which built into a take on “Manteca” that just might be the first example of the cow funk entering Phish’s repertoire – to the Carolina’s brilliant “You Enjoy Myself” and “Tweezer” on back-to-back nights, to the 30+ minute “Free” that took over the second set in Landover, MD on the 22nd, to their first show at the hallowed Hampton Coliseum in Hampton,VA during Thanksgiving week, to Bela Fleck’s memorable sit-in in Knoxville, TN on the 29th, to the 30th’s manic first set that spilled over into the masterful “Tweezer -> Makisupa Policeman -> Run Like An Antelope” in set II, there were more than enough memories and monumental performances throughout November to end 1995 on a high note.

Yet, this is what makes December 1995 so special: they just kept going. They’d harnessed the fire, and as they’ve proven so many different times, in jams, in tours, in shows, if they just keep going, if they just keep focused, if they keep searching for the next plane of creative bliss, sooner or later they’ll reach it, and when they do, look out. From the moment they stepped on stage in Hershey Park Arena on December 1st, to the last note of “Runaway Jim” seventeen days later in Lake Placid, from the first roll of the signature drum pop of “Split Open & Melt” in Worcester, MA on the 28th, through “Johnny B. Goode” in the early hours of 1996, everything Phish played carried a sense of grandeur, a greater collection of energy, a more meaningful purpose than most anything they’d played up until that point. Nearly every show is a classic. You can’t call any show a bad gig, you struggle to be overly critical of any show at all. Throughout the entire month, it mattered little what songs they actually played, every song, be it “Down With Disease,” “Tweezer,” “Scent Of A Mule,” “NICU,” even “Poor Heart” contained a burst of energy and an opportunity to be explored like never before. For seventeen glorious nights, Phish resided at the summit of the mountain, made even sweeter by the fact that they were performing nightly in front of the people who had supported them throughout their entire rise. There’s simply no parallel to the month in any other period of their career. Even December 1997 – a blissful return to the summit, which we’ll dive into in the next post – lacked the certain something that made December 1995 what it was. While the sound they’d worked so hard to build until 1992 – a sound that they would spend the next three years toying with, constantly one-upping themselves – would linger in some form through The Clifford Ball the next summer, it never quite sounded so rich, so powerful, so expansive and so tight as it did throughout December 1995.

– Jams –

If one were to sum December 1995 up into a singular jam, one might suggest the 12/02/1995 “Tweezer” which builds in Type-1 tension & release fashion to a masterful explosion of guitar hose, or the 12/07/1995 rhythmic and soaring melodies “Mike’s Song -> Weekapaug Groove,” or perhaps the 35 minute “You Enjoy Myself” that engulfed the second set of the 9th’s show at Albany and featured such lock-tight connection that they were able to incorporate almost two minutes of silent jamming before reawakening the jam, or even the 31 minute “Down With Disease,” only the second time the song had been played since June, and the last exploratory version until the European Winter tour of 1997. And yet, for as remarkable, mind-bending, and infectious as those jams were, they are not Binghamton’s “Halley’s Comet -> NICU -> Slave To The Traffic Light” from December 14th.

Playing a tiny minor league hockey arena where they’d played one of their best shows of 1992 – 03/20/1992 – the show carried that extra something that lingers in the air at all classic Phish shows. The frigid temperatures outside, the college crowd/forgotten rust belt vibe of the town, it’s geographic location: 90miles south of Syracuse and the 1-90 corridor, SE of the fabled Fingerlakes, the cramped, archaic and swampy conditions inside the venue, it was all a part of the culture that made Phish.

On paper the triumvirate doesn’t look that out of place – save for the direct segue into “Slave” – it appears as the kind of sequence one would envision happening without much fanfare at any number of shows. The burst into “NICU” out of a :30sec guitar build in “Halley’s” is none too uncommon during the 3.0 era. However, from the moment the lyrics in “Halley’s” conclude it’s clear the band is on a mission as Trey swiftly directs them away from the bubbly pop of the song into a high-octane charge into the unknown. Traversing through various speed-jazz phrases, Mike takes a step back and opens the space up considerably, before Trey reinvigorates the jams with an infectious and insatiably catchy riff to which each member hooks onto, thus shifting the jam into a rousing display of unity and communication. This riff, and the resulting jam – just over two minutes in length – represents everything about December 1995 that was so special. In the midst of a jam on a song that is normally treated as a quick punch for energy, the band embraces the unknown fully, allows one jam to develop but then cuts it off abruptly. On a dime they are following each other, waiting patiently, and then, when they know Trey’s struck musical gold, jump on his new idea, building a segment of music out of it that features total engagement and sounds as though it were composed over a lengthy period of editing and rewriting. Were it prewritten would take away very little of it’s greatness, yet the fact that it’s a completely spontaneous event makes it all the more surreal to listen to and contemplate.

From there, Trey directs the band into “NICU,” a song that was notable for being something of a rarity at the time, yet one that few would expect to find buried deep in a second set. Receiving the same treatment as “Halley’s” as soon as the lyrics end, “NICU” goes on a wild adventure from 4:25 to it’s fade into “Slave.” Jumping on the exact same theme from “Halley’s,” Trey builds the song in much the same way as he did in it’s predecessor, though this time, instead of following his every note, Page, Mike and Fish add an atmospheric background to his melody, maturing the theme on the spot, and giving it a more well-rounded, structural feel. Deconstructing it after reaching its maximum potential, Page take’s the reins on the baby grand and guides the band out of fuzz-rock and into more refined and regal territory before Trey and Mike return with ambient phrasings, fading into a stirring, patient and ultimately fulfilling “Slave” to end the sequence and the set.

If the “Halley’s -> NICU -> Slave” trio is the undisputed jam of December 1995, then the “Bathtub Gin -> The Real Me -> Bathtub Gin” from December 29th is at worst, the undisputed jam 1a. After coming alive in the Murat Theater in Indianapolis back in August 1993, “Bathtub Gin” had cooled considerably, returning to it’s role as mid-first set Type I clinic is HOSE. Save for the rousing version sandwiched around the bust out of Mingus’s “Jump Monk” on 04/24/1994, the song remained quite contained for over two years. Yet as the band returned to the road on November 9th in Atlanta, they brought “Gin” back into the realm of improv as well. Both the 11/09 and the 12/05 version from Amherst left the “Gin” theme completely, engaging in, first, an anthemic hose section before stripping away excess noise and focusing on the infectious rhythms contained within the songs origins. The December 5th version then built upon the uncharted terrain, guiding the jam into an obscure, noise-ladened territory, allowing each member to explore the bottom ends of their instruments, while dissonant washes hung overhead.

Following a similar dance-heavy pattern of the previous two versions, “The Real Gin” pushed through various segments of high-octane hose before Trey discovered a tight riff that each of his counterparts jumped on, dedicated to building the theme ala the Binghamton “Halley’s.” The riff serves ultimately as a transition into a cover of The Who’s “The Real Me,” yet what makes the segment so special is the fact that the transition emerged out of a collective search for communication, and wasn’t until everyone jumped on the idea that Trey was trying to communicate that the segue unveiled itself to them. The perfect match for a “Bathtub Gin” jam, the energy within the room – both onstage and off – reaches almost unsustainable levels of pure joy and ecstasy. The band harnesses a power only previously reserved for the arena rock bands of lore, and for a moment epitomizes the entire sound they’d been searching for to accompany their transitional state from clubs to arenas. It’s the kind of music they could have never played in a small theater in 1992. It’s the kind of music they could never have played at the Gorge in the summer of 1998. It’s the kind of music they could never have played during the winter of 2003. It’s the kind of music they could never have played in August 2011. It’s wholly original and unique to where the band was in December 1995, and it represents the kind of elation and sustained energy that had overtaken Phish throughout the month. In the industrial heartland of Massachusetts, in the venue – The Centrum – that had housed one of the greatest shows of their first ten years – 12/31/1993 – two nights before maybe their best show of all time – 12/31/1995 – at the peak of their power, fully locked into their goals, with a purpose that you just don’t see out of a lot of bands once they’ve “made it,” “The Real Gin” represented yet another one of those moments where the band was simply a vessel for tapping into a higher power. Just listen to the way Trey screams “Can you see the real me?! Doctor?!! Whooooa DOCTOR!!” to a wave of continual cheers from the crowd before the band turns on a dime, breaks the song down to Fish and Trey and perfectly pivots into the second verse. A song they’d only played once before – two months earlier – a song that had probably not even been considered for the setlist, a song that emerged from a jam that wouldn’t have even happened had Trey not gone forward with a brief idea of his, and had his bandmates not latched onto his idea fully, thus building the “Gin” into “The Real Me.”

Then, as if the powerful segue, and surprise performance were not enough, the band took The Who on a wild ride through a torrential guitar solo, arena rock excess, before deconstructing it into a funk-laced jam that emphasized linear communication in its greatest sense. Finally, in the same way that “The Real Me” found it’s origins in the “Gin” jam, Trey directs the band into a rhythmic territory based off of a riff of his that bleeds patiently, yet flawlessly back into “Bathtub Gin.” A masterful moment in composition, it is as professional an assertion on the power and command of Phish in December 1995, of both their arsenal and knowledge of each other. A monumental excursion, a clear victory for both the band, and for the world of improvisational music. Proof that what they’re doing isn’t so much “jamming” as it is conducting into the unknown. A jam that has lived on in infamy, known simply as “The Real Gin” to fans, it’s yet another example of the power and supremacy that was Phish in December 1995.

– Shows –

As was stated above, there’s really no such thing as a bad show in December 1995. Even the weakest shows by most people’s standards – 12/04/1995, 12/08/1995, 12/16/1995, 12/28/1995 – are still really really good shows by any other month’s standards. More than anything, these four shows have the misfortune of being included in the conversation with December 1995. This embarrassment of riches creates a problem when attempting to sum the month up in a single show. There are simply too many good shows to discuss when talking about December 1995. You could talk about the 12/01 explosion of energy, full of incredible jams in “Mike’s” and “Bowie,” and the right dose of Phish mythology in “Col. “Forbin’s,” or the rarities scattered throughout 12/07, combined with a unique setlist and timeless jams in “Split Open & Melt,” and the “Mike’s -> Weekapaug” sequence. You could talk about 12/11’s return to Portland, ME, where a gag on “Dog Log” took over the first set, while the second set was dominated by a scintillating and electrifying “Bowie,” or the jam-packed tour finale in Lake Placid which opened with the absolutely torrid segment of “My Friend>Poor Heart>A Day In The Life>Antelope” and closed with a 20 minute jam out of “Tweezer” and led, for only the third time ever, directly into “Tweezer Reprise.” You could also talk about 12/29’s old school, celebratory explosion – a show that defines the ultimate feeling of a Phish holiday run, and continued the lore surrounding the 12/29 and 12/30 shows on a NYE run – or you could talk, however obviously, about the pure greatness of 12/31, from the fact that it was their first NYE show at MSG, to the near-flawless performance of some of their classics, to the diversity and multitude of jams in “Drowned,” “Runaway Jim,” “Mike’s Song,” “Weekapaug Groove” and “You Enjoy Myself.”

Yet, to really sum up the entire month of December in one Phish, one should look no further than the insatiable command, and frantic explosions that emit from their one-night-stand in Philadelphia, inside the legendary Spectrum, on December 15th. Opening with “Chalk Dust>Hood>Wilson” is enough to straight blow the lid off the old bitch. But to then build the first set through a series of some of Phish’s most raucous songs, refusing to let enough time pass between the conclusion of one song and the start of another, so that the crowd only has an opportunity to react once the next song’s started, cultivated a live test in the amount of energy, pressure and elation one could unleash on a crowd before they would explode. “Maze>Ha Ha Ha> Suspicious Minds>Hold Your Head Up>Cars Trucks Buses>Bouncing Around The Room, Free>Possum” concluded a set that, like much of the rest of the month, mattered little for song choices, and instead relied totally on the ferocious output by the band. Opening the second set with “Tweezer Reprise” carried much of the celebratory vibe from set one to part two, and was sustained through a twisted take on “It’s Ice,” and a spirited “Bathtub Gin” that evolved into a beautiful “Rotation Jam” before seguing into the only known version of the Fishman ballad “Mallory.” Concluding with the classic combo of “2001>Bowie” – the latter of which exemplified the contained, yet exploratory nature of the composition – the show is full of literally everything that makes December 1995 the month it is.

If only to add to the musical mastery of the show was the locale. Born and raised in Princeton, NJ, Trey was a die-hard Philadelphia Flyers fan from a young age. No doubt won over by their back-to-back Stanley Cup titles in 1974 and 1975 – the first of which featured the first victory of an expansion-era NHL team over an Original Six franchise, when they beat the Rangers in seven to advance to the Finals before beating the Bruins in six to claim Lord Stanley – he grew up playing hockey and made the hour-long drive to Philly frequently to cheer on the great Flyers teams of the 70’s. What’s more is that Trey’s first live show was a Jethro Tull show at the Spectrum. A venue that was held in the highest regard until it’s closure and demolition in 2010, it was a favorite of many of the arena rock groups of the last forty years, and was the kind of venue one showed-up to whenever they’d booked a gig there. Legends were made there, and one did not look lightly upon a performance at a venue like this. Combine this personal history with the fact that the show was their 180th since April 1994, near the end of their greatest tour ever, and it’s no wonder such magic was unleashed in Philly this night. It’s yet another example of the intangible power and energy that is unleashed during a Phish show. It’s a perfect microcosm to essentially sum up what made December 1995 so unique in their history.

Certain venues and cities bring out different qualities within Phish. The Gorge allows for them to be overtaken by the vastness of the surroundings and usually results in shows heavy in experimentation, Deer Creek is their inheritance from The Dead – an intimate amphitheater in the heartland of America – MSG is the pinnacle of their rock star personalities, used to punctuate another year gone by and remind all other bands of that untapped power of Phish. Philly’s Spectrum however is what Phish would be if they were a venue. Located in an often overlooked city – Philadelphia – under appreciated by the masses, unpreserved by those in care of it, understood and adored by those who take the time to truly appreciate its intricate nature, and lovable flaws. When they stepped inside of it for each of the nine show they would play there, the spirit and the energy of the venue overtook them, and – aside from two horrendously weak shows in 2003 – resulted in one of the best shows from its respected tours.

Fusing the telepathic communication of the members of Phish with the absolute mastery of their technique, the home stretch of their Fall 1995 tour with their location, their first performance in a venue of their dreams with the holiday season in full swing, and it’s no wonder that 12/15/1995 produced one of the most memorable shows of the tour and month. What’s more though is how it represents literally every aspect of Phish in December 1995 that made that era so special and so unique. Never before and never since has the formula added up in quite the same way as it did in December 1995. This is not to say that they haven’t produced music over stretches before or since that demand listening, but there is something to be said about the fact that December 1995 displayed a Phish at the absolute apex of their talents, yet still in search of a larger goal. In the region that bore them and raised them up, it all combined to create the best month Phish has ever played.